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Austin Simonds 12-12-18 Music 26915

Categorical Treatment of the Soloist in the First Movement of Thomas Ades’ Violin Concerto “Concentric Paths”

Thomas Ades has certainly established himself as one of the more important composers of the 21st century. He has established his career not only as a composer, but also as an active conductor and pianist. Ades was born in London, England in 1971. He studied composition with

British composer Robert Saxton at the Guildhall School of Music and Drama. Other notable teachers include Alexander Goeher, Robin Holloway, as well as Gyorgy Kurtag. Ades’ portfolio consists of an impressive three operas, a , his critically acclaimed for large orchestra, as well as a violin concerto, and many more works ranging from chamber to solo compositions. Ades gained much attention from the premiere of his symphonic piece mentioned above, Asyla. In response to Asyla, Christopher Fox pointed out the “instrumental writing is often allied with extra-musical subject matter which also has surrealist resonances.”1 The third movement of Asyla, “Ecstacio” notably takes its basis off of electronic dance music, a common cultural occurrence prevalent in the U.K. during the 1990’s, around the same time as when it was composed (1997). This extra-musical element can be found in many of his other works, including his Violin Concerto “Concentric Paths”. The three movements; I. Rings, II. Paths, and

III. Rounds form “the largest of the circular patterns on which Adès bases the concerto, which

1 Fox, Christopher. “Tempestuous Times: the Recent Music of Thomas Adès.” The Musical Times, vol. 145, no. 1888 (Autumn 2004): 43

2 bears the subtitle Concentric Paths.”2 The work was jointly commissioned by the Berliner

Festpiele and the Los Angeles Philharmonic and received the world premiere by violinist

Anthony Marwood in Berlin in 2005.

Much of the research that has been done regarding Ades’ violin concerto discusses his rhythmic irregularities or his cyclical harmonic material that embeds tonal nonfunctioning progressions. For that reason, I will stay away from focusing too much on the harmonic structure and focus on exploring his treatment of the soloist against the ensemble, and how he manipulates the texture of the material to develop his material from section to section. For the purpose of this paper, I will look at the first movement, titled “Rings,” and attempt to make a connection in the intricate writing he employs between soloist and orchestra. I would argue, he is very much compositionally self-aware of the traditional concerto norms, and the historical expectations a concerto is accompanied with, especially in the 21st century, yet, I am also aiming to discover what pattern or methods he is using to manipulate the texture, in ways that are very much original to Ades and a vast departure from the traditional sense of the word ‘concerto’.

This paper will be structured in three general sections; form, texture, and relationships between soloist and ensemble. The first section will be a brief analysis and breakdown of the various sections among the movement, where specific transitions occur, and major developmental moments throughout the movement. The next section will be an overview of the sections previously established and how the texture and orchestration evolve from section to section. The final portion will be a close examination of the specific interactions between the soloist and the orchestra in relation to the sectional changes, texture changes, etc. and attempt to

2 Thomas May, ADÈS: Violin Concerto (Concentric Paths), Opus 23, program notes, performed by Los Angeles Philharmonic (February 2006), accessed on 10/01/11, http://www.laphil.com/philpedia/piecedetail.cfm?id=1801. 3 connect a pattern across the movement. In this final comparative portion, I will briefly be drawing upon norms found in Mendelsohn’s Violin Concerto, due to (1. its label as a staple in concerto repertoire, (2. It was composed during the common practice period following traditional roles and norms, as a point of comparison. My hope is this will elucidate the techniques Ades employs and will provide a clear picture of where he follows such norms, and where he deviates and how.

The overall structure of the first movement can be described as an ABA form. When we zoom in upon each of the main sections, the piece can be further subdivided into smaller sections with different ‘themes.’ Beginning with the ‘A’ section, the very opening gesture of the piece begins with an oscillating dyad in the solo violin consisting of an artificial harmonic D-G. This material develops and is unraveled to become the material for the rest of the movement. We will label this opening first statement, subsection a or theme 1. Section ‘a’ lasts from measure 1- 20.

At measure 21, or rehearsal mark 2, there is a clear cut from the material and shift in orchestration. This section will be the second theme in the exposition and, for our purposes be labeled ‘b’ or theme 2. Section b occurs from measures 21 - 37. Following section b, there is a 7- bar transition that leads us into the B section, or development. Transition 1 occurs from measure

38 – 44 and is noticeably very directional and goal oriented. The soloist switches from the high register to sixteen notes, yet this time the harmonic material is different, along with the brass and winds providing harmonic accompaniment that has a sense of tension needing to resolve. In addition, the thematic material changes briefly straying from theme 2, but doesn’t last long enough to warrant its own full section label.

The second big section, or B, begins in measure 45 with the main material that encapsulates the developmental section. The violinist moves from the fluid sixteenth note figures 4 to long, and lyrical phrases while the orchestra takes on the arpeggiating figures. I will label this as theme 3, or section c due to the new material introduced in the soloist, as well as the harmonic inversions that occur in the orchestral accompaniment. Measures 45 – 61 make up section c and carry us to the next transitional moment at measure 62. Measure 62 – 75 serve as a “connector”3 or bridge to the final subsection of B. Again, as the previous transition, the momentum Ades creates warrants a real sense of direction. This is especially noticeable in the soloists increasing rhythmic speed and the building of the orchestration leading to measure 76. Measure 62 is characterized by the busy orchestration which juxtaposes the soloist’s high melodic line. The soloist’s line rhythmically speeds up through measure 76 with quarter note triplets that transform into eighth note triplets, and then finally sixteen notes. This last subsection is constructed with a combination of theme 1 from the introduction and theme 2 simultaneously occurring between the soloist and ensemble. This final subsection in B prepares the listener for the full return in measure 85 with a nod to the artificial harmonic oscillation at the beginning. This quote moves away briefly as the piccolos repeat theme 1 before arriving to the actual recapitulation of theme 1 in measure 85.

The recapitulation begins in measure 85 with the soloist returning to a dyad oscillation F#

- B, and then moving back to G-D. The orchestration and material briefly suggest an identical return to the beginning, yet Ades does not present the listener with an exact repetition, rather the arpeggiations are inverted and the orchestration quickly moves toward a different goal. Within larger section A, this brief hint at the beginning will be labeled ‘a`’, Rather than moving to theme

2 as the beginning does, the material moves to a smaller subsection that prepares the piece for its

3 Belkin, Alan. “Musical Composition Craft and Art.” Yale University Press, 2018, pp. 115-130.

5 close. This smaller subsection can be thought of as another transitional moment riddled with heavy orchestration and a build in intensity from measure 109 – 114. Finally, we reach the Coda in measure 115. The Coda is marked by its sharp attacks and the first percussive accents we hear in the piece as well as the sweeping solo part that covers the full register of the instrument.

Figure 1. Formal Structure of “I. Rings”

A B A`

Theme 1- Theme 2- Trans. 1 Theme 3 – Trans. – Theme 1`/Theme2` Theme 1`- Trans. 3 - Coda

a – b - trans. 1 - c – trans. 2 – a`/c` - a`` - trans. 3 - Coda mm: 1 – 20, 21 – 37, 38 - 44 45 – 61, 62 – 75, 76 – 84 85 – 108, 109 – 114, 115 - 121

One of the main features of this movement is the consistency in which Ades employs the arpeggiating figures between the soloist and ensemble. In section ‘a,’ we see the soloist is accompanied with sustained notes in the winds and harmonics in the strings. For the opening 12- bars, the soloist arpeggiates the main motive while the orchestra is sustaining certain harmonic notes in fragmented entrances. This creates an effect that the soloist is ‘triggering,’ or causing these sustains to occur. This develops into the dove-tailing found in the strings in measure 13, and then in the winds four bars following. While the soloist is continually revolving and moving through his running figures, the winds and strings slowly get busier and busier, dove-tailing similar gestures, but never exactly align with the soloist. Theme 2 marks a slight contrast, as now 6 the soloist moves to his melodic theme, and the orchestra is now fully running through the rings, with the sixteenth note figures oscillating and weaving between the winds and strings against the soloist. There are several small moments in this subsection I would like to briefly point out. Ades chooses to have certain moments accentuate out from the texture, and then fall right back in. In measure 27, 2 is brought out to a forte with a sixteenth-note figure. Though the rest of the ensemble is playing similar figures at the same rhythmic value, this is the first moment of the piece a brass instrument is given this figure which, along with the dynamics, allows this moment to jarringly pop out of the texture. Interestingly, this same moment marks a transition in the soloist’s part moving from the lyrical high melody back to the arpeggiating figures briefly. Two measures later, Ades manipulates the texture by adding a pointillistic element in violin 2 and viola through a pizzicato line juxtaposing the ensemble’s flourishes. Section ‘b’ is continuously layered upon with dove tailing. Measure 30 stands out in particular, with trumpet 1 and 2 passing a dotted eighth-sixteen note figure back and forth. The overall texture begins to dissipate starting around transition 1 as the soloist’s line moves towards the development section. The dynamics and articulations in the transition range from ppp to f in the swells. Ades also accentuates several tutti hits that add a sense of momentum and direction.

The middle section really changes in character in terms of both harmonic quality as well as texture and orchestration. The texture really thins out compared to the previous section, with the strings not adding much other than artificial harmonic sustains sprinkled throughout. The horns, along-side the strings, also take a secondary role and shift to the background with soft sustained notes. The winds have the middle-ground for most of the section as they continue the sixteenth-note dove-tailing figures that have been consistent throughout. The foreground is delegated to the soloist, though here, his role is drastically shifted as compared to the exposition. 7

The soloist has new material, a lyrical and high melody that seems rhythmically independent of everything else that is going on. More will be discussed on this in a bit. Transition 2 picks up in density as the strings are now in a polyphonic lock against the winds’ dove-tailing and the soloist’s increasing rhythmic melody. Ades prepares the listener for the recapitulation by dropping the orchestration in a canonic-like manner until only the piccolo, soloist, and a subset of the strings are remaining. All of the material centers around an A-E dyad before we return to the 1st theme once again.

The texture in measure 85 is relatively identical to that of theme 1/opening. The dyad glimmers on as the winds begin to sustain several harmonic ‘triggers’ the soloist passes.

Transition 3 is a major moment where the texture deviates from the previously established expectations. The orchestration grows incredibly thick at measure 109, with every instrument playing forte, and all families (with the exception of the brass) are playing offset variations of the sixteenth-note run figures. As the orchestra swarms, the soloist is in the stratosphere of his register, and the rhythmic duration is getting smaller, increasing in speed. Though the orchestra remains at a constant tempo, the soloist feels ‘out of time,’ or rhythmically playing an independent accelerando against the ensemble. This whole moment builds until the piece reaches the tutti hit at measure 113, where the violinist immediately takes off on a virtuosic run up and down the full register of the violin. The coda also provides a stark contrast to what has been set up thus far by showcasing the first percussive hits of the piece (with the exception of hidden tam- tam accents). The metal can and cowbell hits juxtapose the slightly offset tutti hits in a disjunct final statement as the violinist continues his runs up and down the fingerboard, until the final unified hit signaling the end of the movement. 8

In order to adequately draw a conclusion on Ades’ treatment of the soloist, I am going to provide brief comparative examples from traditional repertoire and explore how the interactions would typically play out in the traditional definition of “concerto.” I am aware of the limitations quantizing and oversimplifying the relationships may impose, but for the sake of this paper, it will be sufficient and accurate enough to allow me to draw between Ades and concerti of the past. There are 4 different interactions that I will draw upon in the comparative analysis: 1. soloist in the foreground/orchestra in background, 2. soloist as accompaniment or background/orchestra in foreground, 3. soloist is doubled with orchestra/equal role, and 4. dialogue between soloist and orchestra. These four categorical treatments are the most common and traditional uses in the soloist/ensemble dichotomy. An example of the all of these can be found clearly in pretty much every concerto composed within the common practice period. I will briefly provide examples from Mendelssohn’s Violin Concerto Op. 64 as a reference point of clear-cut uses of these 4 categories. The first category can be found in the statement of the first theme starting in measure 2, where the violinist plays the theme over the orchestral accompaniment. See figure 2.

Figure 2. Soloist in foreground/orchestra in background

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The second category can be seen following the violin cadenza, where the soloist’s arpeggios move from the climax of the cadenza into the background accompaniment for the recap of the theme. See figure 3.

Figure 3. Soloist in background, orchestra in foreground

The third category includes the soloist and orchestra double, creating a unified and equal texture.

Here the soloist doubles with the strings, diminishing the effect that one role is significantly more important than the other. See figure 4.

Figure 4. Soloist and orchestra doubled

The fourth and last category for comparison is that of dialogue between the soloist and orchestra.

Typically, composers utilize this in a call and response type of scenario, though that is not necessarily always true. See figure 5.

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Figure 5. Soloist and orchestra in dialogue

Having clarified the parameters for this analysis, clear distinctions can more adequately be drawn upon from what Ades is doing that is either unique, or more ‘traditional.’ The opening theme, including the dyad, is a clear example of category 1. The soloist is clearly in the foreground, especially starting in measure 4 with the opening theme/the oscillating gestures. At this point in the piece, the rhythmic accents have not become disjunct, and the piece feels anchored in 3/4 with an orchestral accompaniment that is made up of sustains. At rehearsal 1, the strings become more prominent in their figures, though the violinist is still the main focal point above everything else. This trend changes when we reach theme 2 in measure 21. Here, the winds and strings are now dove-tailing with the figures, yet the violinist begins the lyrical, sustained theme. Dynamically, the soloist is at a fff, which provides a hint that Ades’ goal is to have the soloist remain in the foreground. However, the rhythmic irregular pulse combined with the sustains are reminiscent of the opening gestures found in the orchestra while the soloist likewise played the flourishes. See figure 6. Looking ahead to measure 24 and 25, the soloist switches back to the sixteen-note figure for two measures, then in measure 26, reverts back to the sustained material. This pattern of switching every 2 measures continues again; measures 26 and

27 have sustain tones, measures 27 and 28 contain the oscillating figures, and then he switches to sustain in measure 29 through the end of this subsection until measure 38, which marks the first 11 transitional section. It is also necessary to see how the orchestra reacts as the soloist switches from sustain to running figures. The winds specifically behave in a similar fashion. In measure

27 while the soloist is transitioning from sustain to sixteenth notes, the winds do the exact opposite.

Figure 6. Mm. 18-22 of Concentric Paths, beginning of ‘theme 2’

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They transition from sixteenth-note flourishes into long sustain tones. Again, in measure 29, the soloist moves to the lyrical sustained material and the winds break from their own sustain and begin oscillating. This pattern reflects a sort of ‘voice-exchange’ in the orchestration. See figure

7. When we look at other musical parameters Ades provides, (dynamics, articulations, etc.) it gives the impression the violinist is in the foreground through the whole section, seeing as much of the orchestra is at a p or even ppp. However, relating back to the categorical uses, it seems to me Ades is switching between “1.” and “2.” here on the surface, yet is creating an allusion of multiple focal point occurring at once. If we take the oscillating figures as the main “theme” of the entire piece, then it could be superficially claimed that wherever that line occurs, that is the foreground. However, Ades frequently juxtaposes that with other material occurring in a totally separate rhythmic plane, providing this disjunct and idiosyncratic melding. Looking at measure

29, we have the soloist return to the sustain melody at ff, while simultaneously we are introduced to the pointillistic that accentuates the additional trumpet dialogue at mf. Here I believe there are two main focal points moving, with the oscillating gestures moving to the background. Even the pitch material between the two gestures is echoed and occasionally aligns.

For the transitional section beginning in measure 38, the violin rejoins the unified pulse with sixteenth-note figures, though varied with eighth note stops interspersed, while the orchestra briefly takes a more traditional accompaniment role. It should be noted the horn beginning in measure 38 has several entrances marked with mutes. This timbre, so distinct, clearly cuts through the texture, though these hits do align with the eighth note irregularities in the soloist’s melody, therefore, they function as accents to emphasize the irregularity of the soloist’s movement rather than a second focal point.

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Figure 7. Mm. 27-30 of Concentric Paths

As discussed earlier, the middle section contains a radical change in texture.

Measure 45 marks the beginning of ‘theme 3,’ with the soloist’s high dyad of a Bb and

Gb. The woodwinds continue the cyclical flourishes with inverted harmonies mirroring the first section while the strings take a secondary role sustaining chord tones with the 14 use of artificial harmonics. In measure 49, another ‘orchestral voice-exchange’ occurs between the soloist and flute 1, rather they continually pass the melodic phrase back and forth during this section. The violinist is sustaining a high b with a diminuendo that eventually transforms into a harmonic. Simultaneously, flute 1 crescendos from a ppp to mf. The flute now takes the foreground with the short motive from mm. 51 – 53. See figure 8. The soloist proceeds to take back the foreground in the same fashion the flute did prior with a crescendo from an artificial harmonic ppp to a mf in measure 57. This is another example of Ades treating the soloist as a category 1 and 2, foreground to background. As for the orchestral accompaniment, the violins continue the sixteen note figures at ppp, the viola, cellos, and basses sustain harmonics at an almost inaudible pppp-ppp. There does seem to emerge a call and response moment in measure 53 between the trumpet and soloist. I would classify this sort of treatment as a category 4, dialogue between the soloist and orchestra. This dialogue rises out of the flute and violin conversation as an added voice that leads to the next transition. We see in measure 59, the take the foreground with a similar gesture the flute and soloist had been passing, though rhythmically it speeds up, and dynamically grows louder. Likewise, in measure

59, the orchestration becomes busy once again with the winds now all swarming through the sixteenth note flourishes.

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Figure 8. Mm. 51-55 “Orchestral Voice-Exchange”

Measure 62 marks the second transitional subsection within section ‘B.’ Here, the soloist begins an interesting trajectory that seems to be a more pronounced technique similar to 16

Ades’ treatment in section A where the soloist seems suspended in time, separate from the ensemble. The orchestra now reverts back to the sweeping motions among the strings and winds. However, the soloist at a fff, carries a disjunct quarter note triplet figure that is offset from the rest of the ensemble. The soloist’s line gradually increases in speed from mm. 62-72. See figure 9. As this happens, the orchestra methodically begins to drop out of the texture; first the low strings in measure 64, then and in measure

66, lastly the first violins in measure 69. Because the sixteenth-note motive remains consistent against the increasing soloist, this is an example of Ades once again setting up multiple focal points, while still keeping the soloist in the foreground. Once we reach measure 71, the timbres have converged into one sound between the piccolo and soloist, both play the flourish figures in the same register until we arrive at measure 76, where the artificial harmonic prepares us for the recapitulation eight measures later. By measure 76, the soloist has rejoined the ensemble in the same plane and moves to the background as the strings sustain harmonics against the piccolos flourishes.

The recapitulation, especially section a``, functions in a similar fashion to the opening statement of the movement. The soloist is held in the foreground, traditionally category 1, while the orchestral accompaniment dove-tails sustains and variations of the same gesture. Ades deviates from the formula when we arrive to the tutti in measure 109, or ‘transition 3.’ Here the soloist boldly states a variation of the theme from the middle section as the winds and strings swell in and out with the sixteenth-note gestures. The brass section has a more prominent role here than in other sections, marking accented points within the soloist’s line.

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Figure 9. Mm. 64-67 of Concentric Paths

The and swell, providing harmonic support while the trumpets have clear points of attack, from measure 111-113. The orchestra reaches its climactic tutti hit in 18 measure 113, sending the violinist on a virtuosic run down the register. From measure

109-115, we can see (and hear) layers of texture among the orchestra clearly; the low brass’ sustains, and the wind’s and string’s fast gestures in the background, the trumpet accents in the middle ground, and the soloist in the foreground. Though we hear several layers, this is not an example, as earlier in the middle section, of Ades creating different planes or focal points occurring simultaneously. Rather, we can isolate the different functions and see how they work to contribute and lock into the unified whole. The coda is similar, though orchestrationally more interesting, the relationship between the soloist and ensemble is handled in a relatively conservative manner. The soloist continues his final showcasing sweeps while the orchestra accompanies with accented and disjunct hits until the final beat.

Throughout the opening movement “Rings,” there is a consistent thread Ades weaves through its’ entirety. The cyclical sixteenth-note figures that move between instruments, make up several themes, and play a role in the overall form. However, we can also make a connection to Ades’ treatment of the soloist to the form. To briefly conclude, large section ‘A’ consisted primarily of category 1 treatment, however, theme 2 showed Ades’ own departure from tradition with his use of multiple focal points. Section

‘B’ consisted of category 4, as well as another instance of Ades’ multi focal point, and a closing subsection with category 2. The final section ‘A`’ consisted of all category 1 treatment. When summarized, Ades chose to book-end the piece with the soloist in the foreground leading the show and save the dialogue between ensemble and soloist for the development section. We can also conclude that the several instances labeled as ‘multi- focal points,’ the moments that could not easily be thrown into one of the categorical 19 treatments established, were mainly reserved to the bulk of the exposition and middle of the development. With regards to texture, we concluded the texture and form are inherently related, (i.e. A-B-A: polyphonic, busy – lyrical, sparser overall – polyphonic, busy.) There is a correlation between texture and Ades’ treatment of soloist as well. He typically utilizes a dense and busy texture when the soloist was cast in the foreground, and restrained a bit choosing a sparser density when the soloist was either; (1. in conversation with the ensemble, or (2. accompanying the ensemble. Science 101 dictates

“correlation does not equal causation.” So, it is difficult to assert with certainty that Ades was consciously thinking about the relationship of the soloist to ensemble in this manner as related to form and texture. Perhaps another paper could further analyze a different concerto by this composer, or even other composers in the 21st century and discuss the relationship of the soloist there to further explore whether Ades’ approach is unique to him, or common practice for the 21st century. Through my own method of analysis, I was able to connect a pattern of Ades’ use of the soloist, where he followed a more traditional route, and a pattern where he deviated. Ades has shown he is capable of cementing his work in the standard literature, with performances higher than most other living composers, through works such as Asyla, his operas, and chamber work. This concerto, with its intricate writing and positive reception, has proven to be no different.

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List of Figures

Figure 1. Formal Structure of “I. Rings” pg. 5

Figure 2. Soloist in foreground/orchestra in background pg. 8

Figure 3. Soloist in background, orchestra in foreground pg. 9

Figure 4. Soloist and orchestra doubled pg. 9

Figure 5. Soloist and orchestra in dialogue pg. 9

Figure 6. Mm. 18-22 of Concentric Paths, beginning of ‘theme 2’ pg. 11

Figure 7. Mm. 27-30 of Concentric Paths pg. 13

Figure 8. Mm. 51-55 “Orchestral Voice-Exchange” pg. 15

Figure 9. Mm. 64-67 of Concentric Paths pg. 17

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Bibliography

Adès, Thomas. Violin Concerto, Concentric Paths Op. 23. London: Faber Music,

2010. Print.

Adès, Thomas and Service, Tom. Thomas Adès: Full of Noises: Conversations with Tom

Service. London: Faber and Faber, 2012. Print.

Belkin, Alan. “’Connecting.’ Musical Composition Craft and Art.” Yale University Press,

2018, pp. 115-130.

Fox, Christopher. “Tempestuous Times: the Recent Music of Thomas Adès.” The

Musical Times, vol. 145, no. 1888 (Autumn 2004): 41-56

Roeder, John. “Co-operating Continuities in the Music of Thomas Adès.” Music

Analysis, vol. 25, no. 1/2 (March-July, 2006): 121-154.

Thomas May. “Violin Concerto.” Program Notes. Performed by Los Angeles

Philharmonic (February 2006). http://www.laphil.com/philpedia/piece-

detail.cfm?id=1801.