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Adès's Arcadiana Redefining Coherence Interaction and Experience in New Music, 1985–1995 Mark Aled Hutchinson PhD University of York Department of Music March 2012 2 Abstract This thesis presents an analytical exploration of a number of works from 1985 to 1995, many of which have not previously received detailed attention. Although they stem from quite varied stylistic and aesthetic backgrounds, all these pieces are situated in a particular position within the tradition of Western art music: they show an approach which is neither ‘avant-garde’ in its commitment to continual formal and technical novelty, nor clearly associated with any other existing compositional school. Instead, they engage with a diverse range of models, both musical and external; intra-musical connections range from the legacy of the broader Classical and Romantic common- practice tradition to the varied timbral and formal developments of the twentieth- century avant-garde, whilst extra-musical connections seem almost endless, encompassing fields from art to astronomy, literature to horticulture. Alongside this stylistic and referential plurality, they display an often seemingly intuitive approach towards structure and system, with their most striking musical effects often arising out of layered, non-hierarchical interactions between different materials and processes. As such, they present clear challenges to traditional conceptions of analysis, which are often based around the systematic generation of clear (albeit often very complex) organisational structures. It is argued that this music, in spite of these challenges, displays a striking level of expressive and aural coherence; conventional ways of understanding this term – whether they be based around unity of material or form or process – need to be redefined to take this into account. Chosen works are approached by way of a ‘patchwork’ of different perspectives and techniques: the core of the thesis is a series of four case studies which connect narratives of listener experience with analytical and contextual detail, making particular use of the clarifying potential of metaphor. These close readings are interleaved with chapters which consider the wider challenges and implications for the study of this repertoire, drawing upon a number of strands in contemporary musicological and philosophical thought. 3 Table of contents List of examples.............................................................................................................. 8 Acknowledgements........................................................................................................ 11 Author’s declaration..................................................................................................... 12 1 Introduction...................................................................................... 14 Repertoire and limitations .................................................................................... 14 Beyond the ‘post’-boxes: tradition, challenge, experience ........................... 16 Structure and approach......................................................................................... 20 Towards a methodology................................................................................. 24 Introducing Arc-en-ciel................................................................................. 25 Analysis and reflection......................................................................................... 29 Characteristics of approach.......................................................................... 29 Defying gravity: analysis, reflection, and Arc-en-ciel.................................. 33 Redefining coherence........................................................................................... 37 2 Connections 1: Coherence, experience, aesthetics........................ 39 Defining coherence: theory and practice .............................................................. 39 Existing literature................................................................................................. 42 Thomas Adès................................................................................................. 44 Kaija Saariaho.............................................................................................. 45 Tōru Takemitsu.............................................................................................. 48 György Kurtág.............................................................................................. 50 Experience and aestheticism: a conceptual framework ........................................52 An ‘aesthetic turn’? .......................................................................................54 Coherent rites: Kurtág’s Officium breve in memoriam Andreæ Szervánsky......... 57 3 Disguised continuity, hidden variation: Adès’s Arcadiana........... 64 Disruption: fracture and variation ........................................................................ 70 Glitter, dazzlement and distraction: ‘Das klinget…’ .................................... 70 Variation and the aesthetic of the momentary............................................... 74 Grit, grime and decay: ‘Et…’ ....................................................................... 75 Fog, wandering and arrival: ‘Venezia notturna’ .......................................... 79 Interruption: linearity and energy .........................................................................83 Inter-movement connections and growing momentum ................................. 84 Continuities and developments: ‘Auf dem Wasser zu singen’ .......................86 Dancing divisions: ‘L’embarquement’ ..........................................................88 Integration: mosaic and ‘resolution’ .....................................................................91 Memory, memorial and the moment.............................................................. 92 A moment of coalescence: ‘O Albion’ ...........................................................93 Solace in amnesia: ‘Lethe’ ............................................................................96 4 Table of contents 4 Connections 2: Interaction, analysis, energy................................. 98 Layered ‘consonance’?................................................................................. 99 ‘Breaking up is hard to do’: the challenge for analysis ..............................100 Tangled strands: Adams’s Violin Concerto, first movement.............................. 102 Beyond pluralism................................................................................................ 109 Strand 1: Rhizomes...................................................................................... 110 Strand 2: Affordances.................................................................................. 114 Semiotic squares and ‘relational’ analysis.......................................................... 118 Square 1: ways of listening......................................................................... 120 Square 2: layer relationships...................................................................... 122 Square 3: material and memory.................................................................. 123 5 Pulling inwards, pushing onwards: Saariaho’s Solar................. 125 Approaching Solar...................................................................................... 126 Establishing terms: gravity and momentum....................................................... 132 From the earth to the stars: expanding the metaphor................................ 133 Squaring the circle: semiotic squares in Solar............................................ 135 Rich affordances: the opening of the work ................................................. 136 Moving into orbit: cycles 1–7............................................................................ 139 Acoustic ‘zoom’........................................................................................... 139 Higher-level polarities ................................................................................ 143 Escape velocity: cycles 8–16.............................................................................. 145 Tracing the ‘lines of flight’.......................................................................... 146 Reeling off into space: cycles 17–27.................................................................. 152 The coda: recurrence and polarisation....................................................... 153 6 Connections 3: Shape, continuity, development.......................... 159 ‘Constituent elements’ and ‘relevant functions’: rethinking form.............. 160 Composer and listener: conceptual and perceptual approaches................ 162 Understanding form: three perspectives............................................................. 164 Hierarchy and flatness: Fink and the uses of metaphor............................. 164 Following a line: Levinson and ‘concatenationism’................................... 168 Frozen tableaux: Stockhausen, Kramer, and ‘moment form’..................... 171 Snapshots in sound: Dutilleux’s Mystère de l’instant........................................ 173 ‘Seizing the moment’: Dutilleux and moment form.................................... 174 Moment form and Mystère de l’instant....................................................... 178 Expanding the frame: snapshots and musical form...................................
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