Redefining Moments:

Interpreting Flexible Moment Form in the Late Solo Works of Franco Donatoni

Ashley William Smith B.Mus (Hons.)W.Aust, M.Mus Yale

This thesis is presented in partial fulfilment of the requirements for the Doctor of Musical Arts

University of Western Australia Conservatorium of Music

2020 i

Thesis Declaration

I, Ashley William Smith, certify that:

This thesis has been substantially accomplished during enrolment in this degree.

This thesis does not contain material which has been submitted for the award of any other degree or diploma in my name, in any university or other tertiary institution.

In the future, no part of this thesis will be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree.

This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text.

This thesis does not violate or infringe any copyright, trademark, patent, or other rights whatsoever of any person.

Third party editorial assistance was provided in preparation for this thesis by Laura Biemmi.

This thesis does not contain work that I have published, nor work under review for publication.

3 March, 2020

ii

Portfolio Components

Required Material

i) A dissertation of 37,000 words ii) Two recitals: Donatoni in Context, presented on 22 May 2016 at the University of Western Australia (DVD1) The Walk of Shame, presented on 16 June 2019 at the University of Western Australia (DVD2) iii) A lecture recital: Redefining Moments: An Introduction to Moment Form Theory, presented on 25 February 2020 at the University of Western Australia (DVD3)

Supplementary Material

iv) Recital Program (DVD1). Appendix 2 v) Recital Program (DVD2). Appendix 3 vi) Lachlan Skipworth NV6241 premiere recordings of works for clarinet and ensemble by Lachlan Skipworth, including Clarinet Quintet, Intercurrent, and The Night Sky Fall. Appendix 4

iii

Abstract

The diverse and substantial output of Italian composer Franco Donatoni (1927-2000) continues to attract the attention of performers intent on tackling its virtuosity, and scholars who endeavour to understand its theoretical mechanisms. While the influences of aleatorism and Darmstadt serialism of Donatoni’s early career remain evident in the techniques of his late style, the processes that were once a means of suppressing subjective influence are employed as a way of realising artistic freedom. Exemplifying Donatoni’s late style are twenty-nine solo instrumental works composed between 1976 and 2000.

Exciting for the listener and demanding for the performer, the coexistence of both continuous and discontinuous elements, as well as formalist and non-formalist elements in Donatoni’s late solo works make them challenging for the analyst. The purpose of this dissertation is to show how these works can be rendered analytically accessible by engagement with the concept of moment form, a compositional theory promulgated by Karlheinz Stockhausen in the early 1960s constituting discontinuous music composed in independent units.

Crucial to recognise in the application of moment form theory to analysis is the varying degrees to which unifying and continuous elements are recognised and embraced by the strategy. Encompassing various modifications made to the strategy by composers and analysts across its sixty-year history, this dissertation codifies a flexible moment form theory and supplies an accompanying analytical methodology. By embracing an approach applied to block form theory by analyst Michael Ridderbusch, a composition’s continuous and discontinuous elements are viewed as complementary reciprocals operative on a continuum. Utilising this perspective, the flexible moment form strategy provides a solution to the analytical challenges presented by Donatoni’s late solo works.

The first part of this dissertation outlines and tests the methodology while the second part concretises the methodology and proves its potential. Formal interpretations are made of the first movement of Donatoni’s Clair (1980) for solo clarinet, the first movement of Ombra (1984) for contrabass clarinet (or bass clarinet), and the second movement of Soft (1989) for bass clarinet. iv

Two accompanying recitals explore the musical context of both Donatoni’s late solo works and the moment form concept. These recitals include new works by Chris Tonkin and Lachlan Skipworth as representations of flexible moment form compositions. An accompanying lecture recital explores the development and application of the flexible moment form strategy in Donatoni’s solo clarinet work, Clair. The lecture recital also applies the concept to architectural theory, demonstrating the broader application of flexible moment form as an aesthetic theory.

v

Table of Contents

Portfolio Components…………………………………………………………………………………………….………ii

Abstract ……………………………………………………………………………………………………………………….iii

Acknowledgements…………………………………………………………………………………………….…………vii

List of Figures …………………………………………………………………………………………………………..…viii

Chapter 1: Introduction and Project Outline……………………………………………………………………...1

1.1: Donatoni Today………………………………………………………………………………………….…1

1.2: The Analytic Problem……………………………………………………………………………….……1

1.3: The Analytic Solution………………………………………………………………………………….…4

1.4: Fundamental Orientations and Propositions……………………………………………………..6

1.5: Trajectory……………………………………………………………………………………………………..9

Chapter 2: Toward a Flexible Moment Form Theory……………………………………………………..…11

2.1: Antecedents of Moment Form……………………………………………………………………….11

2.2: Pure Moment Form……………………………………………………………………………………..15

2.3: Moment Form Modifications………………………………………………………………………..21

2.4: Codifying Flexible Moment Form…………………………………………………………….……29

Chapter 3: Franco Donatoni: Stylistic Evolution and Current Approaches to Analysis…………...34

3.1: Stylistic Evolution………………………………………………………………………………………...34

3.2: Current Approaches to Analysis………………………………………………………………….…39

3.3: Case Study: Interpreting Flexible Moment Form in Incisi, Movement I…………..….42

Chapter 4: Extended Methodological Application 1: Clair, Movement I…………………………..….58

4.1: Identification of Materials and Moments………………………………………………….……..58

4.2: Identification of Intra-moment Characteristics and Processes………….……….………..62 vi

4.3: Identification of Inter-moment Unities/Continuities………………………………….……..71

4.4: Flexible Moment Form in Clair, Movement I……………………………………………..……82

Chapter 5: Extended Methodological Application 2: Ombra, Movement I…………………..………86

5.1: Identifications of Moments………………………………………………………………….………..86

5.2: Identification of Intra-moment Characteristics and Processes……………………..……..89

5.3: Identification of Inter-moment Unities/Continuities…………………………………….…..97

5.4: Flexible Moment Form in Ombra, Movement I………………………………………..……108

Chapter 6: Extended Methodological Application 3: Soft, Movement II……………………..……..111

6.1: Identification of Moments…………………………………………………………………………..111

6.2: Identification of Intra-moment Characteristics and Processes………………………..…115

6.3: Identification of Inter-moment Unities/Continuities………………………………….……126

6.4: Flexible Moment Form in Soft, Movement II…………………………………………..…….131

6.5: Final Thoughts……………………………………………………………………………………….….133

Bibliography………………………………………………………………………………………………………………135

Appendices………………………………………………………………………………………………………………..138

Appendix 1: Enlarged Figures…………………………………………………………………….………138

Appendix 2: Recital Program 1……………………………….…………………………………….……148

Appendix 3: Recital Program 2………………………………………………………………………….150

Appendix 4: Links to Supplementary Recordings …………..……………………………………151

vii

Acknowledgements

I would like to thank the following people and acknowledge their contributions to this dissertation:

• My collaborators and friends Chris Tonkin and Lachlan Skipworth. • All the associate-artists involved in these performances: Gladys Chua, Louise Devenish, Emily Green-Armytage and Shaun Lee-Chen. • Laura Biemmi (third-party editing), Jet Kye Chong (computer processing of figures), Jesse Stack (mastering of the DVD recordings) and Pip White (recital logistics). • Alan Lourens and Sarah Brittenden: thank you for the opportunity, time and space. • Cecilia Sun: thank you for being so generous with your time and insightful thoughts. • Emily Clements, Adam Pinto, Danielle Loiseau and my CrossFit buddies: thank you for your encouragement.

This thesis is dedicated to Mum and Jan, and to the memory of Kim Stedman (1950-2019).

This research was supported by an Australian Government Research Training Program (RTP) Scholarship.

viii

List of Figures

Note: All figures presented employing standard musical notation that do not include clefs are to be considered in treble clef.

Figure 2.1 Calculated distribution of recurring content across Debussy’s Ondine

Figure 3.1 Parametric behaviours across Incisi, movement I

Figure 3.2 Serial transformation across moment 1 of Incisi, movement I

Figure 3.3 Localised ternary structure in moment 2 of Incisi, movement I.

Figure 3.4 Extracts of moment 17 and moment 18 showing nondeterminate algorithmic processing in Incisi, movement I.

Figure 3.5 Extracts of moment 18 and moment 19 showing nondeterminate algorithmic processing in Incisi, movement I.

Figure 3.6 Extracts of moment 8 and moment 9 showing algorithmic processing in Incisi, movement I.

Figure 3.7 Graphical representation of pitch range across Incisi, movement I

Figure 3.8 Extracts of moments 5, 6 and 7 illustrating various procedures of A4 pitch assertion in Incisi, movement I.

Figure 3.9 Moment 2 algorithmic processing in Incisi, movement I

Figure 3.10 Extract of moment 12 algorithmic processing in Incisi, movement I

Figure 3.11 Binary stratum axis reinforcement in Incisi, movement I

Figure 3.12 Pitch range axis reinforcement in Incisi, movement I

Figure 3.13 Juxtaposing pitch contour types in Incisi, movement I

Figure 4.1 Parametric behaviours across Clair, movement I

Figure 4.2 Static pitch panel and phrase window margins in moment 1 of Clair, movement I

Figure 4.3 Nondeterminate pitch order variation in moment 1 of Clair, movement I

Figure 4.4 Progressive revelation of static pitch panel in moment 2 of Clair, movement I ix

Figure 4.5 RM-B transformations across Clair, movement I

Figure 4.6 Extract of moment 2 showing serial transformation and application of inverse pitch collection algorithm in Clair, movement I

Figure 4.7 Extract of moment 5 showing fragmented descending chromatic contour in Clair, movement I

Figure 4.8 Extract of moment 6 showing contours resultant from parallel spacing algorithm in Clair, movement I

Figure 4.9 Extract of moment 9 showing D6 pitch assertion in Clair, movement I

Figure 4.10 Extract of moment 10 showing stratification of RM-B and RM-D in Clair, movement I

Figure 4.11 Continuous sinewave-shaped presentations of RM-B across moments 11, 13, and 18 in Clair, movement I

Figure 4.12 Extracts showing juxtaposition of texture across borders of moments 14- 15, 15-16, and 16-17 in Clair, movement I

Figure 4.13 Extracts of moments 4-7 showing concatenated variation across moments 4, 5, 6, and 7 in Clair, movement I

Figure 4.14 Concatenated variation of RM-D across extracts of moments 8, 9, 10, and 11 in Clair, movement I

Figure 4.15 Algorithmic transformation of RM-D across extracts of moments 9 and 14 in Clair, movement I

Figure 4.16 Concatenated variation of RM-D across extracts of moments 14, 15, 16, and 17 in Clair, movement I

Figure 4.17 Extracts of moments 2 and 3 showing localised border transition in Clair, movement I

Figure 4.18 Graphical representation of pitch range across Clair, movement I

Figure 4.19 Coexisting midlevel and global strata in Clair, movement I

Figure 4.20 Extracts of moments 1 and 16 showing associative similarity in Clair, movement I

Figure 5.1 Parametric behaviours across Ombra, movement I x

Figure 5.2 Extract of moment 1 showing reverse comet pulsations in Ombra, movement I

Figure 5.3 Extract of moment 2 showing serial transformation in Ombra, movement I

Figure 5.4 Extract of moment 3 showing showing serial transformation in Ombra, movement I

Figure 5.5 Serial transformations of the RM-B rhythm panel across moment 5 in Ombra, movement I

Figure 5.6 Static pitch panel and phrase window margins in moment 6 in Ombra, movement I

Figure 5.7 Static pitch panel and phrase window margins in moment 7 in Ombra, movement I

Figure 5.8 Extract showing static rhythm panel and phrase window margins in moment 7 in Ombra, movement I

Figure 5.9 Static pitch panel and phrase window margins in moment 8 of Ombra, movement I

Figure 5.10 Transformation via the hierarchical ornament algorithm across moment 9 of Ombra, movement I

Figure 5.11 Extract showing preservation of pitch collection fragments from sub- moment 10a in sub-moment 10b in moment 10 of Ombra, movement I

Figure 5.12 Algorithmic processing across moments 1 and 2 in Ombra, movement I

Figure 5.13 Extracts of moments 2, 3, and T2 showing algorithmic processing in Ombra, movement I

Figure 5.14 Application of duration space algorithm to the finale stave of moment 3 in Ombra, movement I

Figure 5.15 Extract of moment 2 showing algorithmic processing resulting in the formalisation of RM-C in sub-moment 5a in Ombra, movement I

Figure 5.16 Extract of moment 2 showing algorithmic processing resulting in the formalisation of RM-D in sub-moment 5b in Ombra, movement I

Figure 5.17 Extract of moment 5 (a) showing application of windowshift algorithm to RM-C across moment 6 in Ombra, movement I xi

Figure 5.18 Extract of moment 5 showing application of windowshift algorithm to RM-D across moment 6 in Ombra, movement I

Figure 5.19 Extracts of moments 7 and 8 showing reordering of RM-D pitches in Ombra, movement I

Figure 5.20 Algorithmic processing of moment 4, resulting in moment 11 in Ombra, movement I

Figure 5.21 Graphical representation of moment pitch ranges across Ombra, movement I

Figure 5.22 Distribution of parametric behaviours in dynamic scheme and rhythmic figuration across Ombra, movement I

Figure 5.23 Graphical representation of coexisting midlevel and global strata in Ombra, movement I

Figure 6.1 Parametric behaviours across Soft, movement II

Figure 6.2 Serial transformation of material across moment 1 in Soft, movement II

Figure 6.3 Inverse pitch collection algorithm applied to descending contours of moment 1 of Soft, movement II

Figure 6.4 Transformation of dynamic pitch panel through a pitch cycle algorithm in sub-moment 2a of Soft, movement II

Figure 6.5 Application of inverse pitch collection algorithm in sub-moment 2b of Soft, movement II

Figure 6.6 Intra-moment concatenated variation across moment 3 in Soft, movement II

Figure 6.7 Transformation through transposition and octave displacement in moment 4 of Soft, movement II

Figure 6.8 Algorithmic processing resulting in the contraction of pitch range across moment 5 of Soft, movement II

Figure 6.9 Expanding duration space algorithm in moment 6 of Soft, movement II

Figure 6.10 Texturally juxtaposing pitch panels in moment 7 of Soft, movement II

Figure 6.11 Progressive expansion through a pitch cycle algorithm in moment 8 xii

Figure 6.12 Progressive formalisation of a static interval panel, inverse pitch collection algorithm, and serial transformation in moment 10 of Soft, movement II

Figure 6.13 Algorithmic processes of pitch infiltration and fragment insertion across sub-moments 10a and 10b of Soft, movement II

Figure 6.14 Extracts of sub-moment 2b and moment 3 showing progressive development of pitch panel in Soft, movement II

Figure 6.15 Harmonic implication across moments 3 and 4 of Soft, movement II

Figure 6.16 Extracts of moments 7 and 8 showing the final variation and stabilisation of RM-B material in Soft, movement II

Figure 6.17 Assimilation of RM-B and RM-C fragments from moment 7 in moment 8 of Soft, movement II

Figure 6.18 Extracts showing textural recasting of material in moments 8 and 9 of Soft, movement II

Figure 6.19 Extracts showing moment 9 used as parent material for moment 10 in Soft, movement II

Figure 6.20 Distribution of three linear narratives in Soft, movement II

1

1. Introduction and Project Outline

1.1 Donatoni Today

The diverse and substantial output of Italian composer Franco Donatoni (1927—2000) continues to capture the attention of performers and listeners alike. In 2019, performances of his works were staged across the globe by Ensemble Adapter (Germany), Ensemble Offspring (Australia), the Riot Ensemble (United Kingdom), Ensemble Contrachamps (Switzerland), and the Divertimento Ensemble (Italy). Performances and recordings by the BBC Philharmonic, New York Philharmonic, and the Tokyo Philharmonic continue to champion the composer’s orchestral output. The enduring success of Donatoni’s music signifies the cultural impact of his work throughout the twentieth century and beyond, thus substantiating the scholarly attention it currently receives from analysts endeavouring to understand its theoretical mechanisms.

This aim of this project is to develop analytical tools to unlock dormant formal riches currently unexplored in Donatoni’s late works. In doing so, this project aims to provide both the listener and performer with a more insightful interpretative experience, and to inspire current composers with new compositional possibilities.

1.2 The Analytic Problem

Following the collapse of the hegemony of tonality around 1910—and with it, the ubiquity of teleological musical motion—a continuous narrative in the Western art music tradition has been the search for alternative processes and forms to provide coherence to non-hierarchical pitch-systems. While Donatoni’s quest for such coherence would involve a series of shifts in his artistic practice throughout the first half of his career, a phase of artistic transfiguration in the mid-1970s would see him combine Darmstadt serialism, John Cage’s aleatorism, and Béla Bartók’s formal processes into an idiosyncratic compositional voice. The emergence of this mature voice would see the reinstatement of a previously subdued degree of subjectivity. As Bradley Decker observes, ‘Donatoni abandoned a highly rigorous, structural ideal for one that was more relaxed and flexible.’1 While stylistic influences from his earlier career remained evident in some of his later works, the processes that were once a means of suppressing musical subjectivity are instead employed as a way of realising a degree of compositional freedom in

1 Bradley D. Decker, ‘Preserving the Fragment: Franco Donatoni’s Late Chamber Music,’ Perspectives of New Music 46, no. 2 (2008): 183. 2

what has been termed his ‘joyous’ style. Exemplifying this style are Donatoni’s twenty-nine solo instrumental works composed between 1976 and 2000. In describing the sound world of these works, Andrew Ford refers to their ‘joyous,’ virtuosic nature: ‘glittering or shimmering in quality […] fragments of musical material are juxtaposed, superimposed, and then often suddenly assembled to form an epiphanous, melodic line.’2

Exciting for the listener and demanding for the performer, the late solo works of Donatoni are challenging for the analyst. However, when one considers the aesthetic and philosophical perspectives that inform the recalibration of intuition and systematisation in Donatoni’s late style, this resistance to analysis is unsurprising. In his 1993 interview with Andrew Ford, the composer distinguishes his early and late approaches to form:

For a long time, I composed in panels, where there is one articulation of sound, then a break, then another articulation. Every musical moment is independent. For me this operation is no longer very satisfactory, because, in music like this, B comes after A, and C after B: this is a chronology, not a history, because there is no progress and the form is circular.’3

This circumscribed conception of form parallels the philosophical discourse of the time, such as Herni Bergson’s notion that memory and perception are part of an interpenetrating process in which the past and the present cannot be easily distinguished.4 The introduction of a nonteleological approach to time inspired Donatoni’s intuitive approach to form, substantiated by his claim that he has ‘no predetermined idea of the form. The form emerges, the sense of form emerges.’5 Accordingly, the degree of systematization regulating the organisation of musical parameters in the late works becomes a parameter that is subject to change within itself:

I am completely free to organise my music; to employ systems or not to employ systems. I might program one aspect of the music – for instance the durations of sections – and leave the others completely free. But I do not find it necessary to decide any of this in advance.6

This freedom stems from a newfound responsiveness toward the inherent potential of the musical material:

2 Andrew Ford, ‘A man without imagination: Franco Donatoni’ in Composer to Composer: Conversations about Contemporary Music (Sydney: Hale and Iremonger Pty Ltd, 2001), 119. 3 Ford, ‘A man without imagination’ 120. 4 Henri Bergson, Time and Free Will: An Essay on the Immediate Data of Consciousness, trans. F.L. Pogson, (New York: HarperCollins, 1960), 107-10. 5 Ford, 120. 6 Ford, 119. 3

When I am writing, I don’t know whether I am inventing or discovering. The initial material is an invention, but after that the music suggests to me its own invention. And that is a problem. Is the musical material somehow active? Or do I have possession of this material?7

If the abstraction of Donatoni’s approaches seem overwhelming, the resistance of the late works to analysis is fitting. Although it is not the objective of this dissertation to obtain its answers exclusively through appeals to the composer’s words, in introducing Donatoni’s remarks the aim is to substantiate the conscious presence of both systematic and non-systematic procedures in these works. These considerations thus demand an approach to analysis that is broader and more inclusive than that required of formalist, system-centric music. Nicholas Cook defines the formalist approach as ‘a belief that any musical form is the expansion of a kernel of some kind, an expansion that works hierarchically according to more or less strict rules – so the analysts job becomes one of working out just what these rules are in any given case.’8 Current analytic approaches to Donatoni’s late style employ the same formalist methods as those applied to the composer’s rigorously automatic earlier style, despite this later style breaching such hierarchy and strict rules. Though successful at explaining the ‘inner workings’ of the music through the decoding of local-level processes, the ‘outer workings’—the distribution and interaction of both systematic and non-systematic elements across the macro architectural structure—remain largely unexplained by such formalist methods. As a result, current scholarship has been unable to provide a comprehensive understanding of Donatoni’s late style.

Thus, a series of crucial questions emerge. Given the analytic resistance characteristic of the late works, how can meaningful interpretations be generated for them? Specifically, how can the analyst comprehensively engage with the nature of form in these works, and thereby render accessible these culturally significant compositions to performers, listeners, and future analysts alike?

As much as this dissertation is an investigation of Donatoni’s compositional process, it also an investigation of the bases of musical analysis. By proposing a method of analysis that navigates and capitalises on the unique and rich structures of Donatoni’s late style, this dissertation concerns itself with proposing an appropriate method that can sufficiently surmount this music’s analytic difficulty.

7 Ford, 120. 8 Nicholas Cook, A Guide to Musical Analysis (Oxford: Oxford University Press, 1994), 118-9. 4

1.3 The Analytic Solution

The purpose of this dissertation is to demonstrate how works by Donatoni that exhibit both formalist and non-formalist traits can be rendered analytically accessible. Central to the analytic solution offered is the proposition that meaningful formal readings can be generated for Donatoni’s late works by engagement with moment form theory.

Karlheinz Stockhausen (1928—2007) introduced the concept of moment form in his 1960 article ‘Moment Form – New Relations between Durations of Performance and Work and Moment,’9 as a reckoning of the compositional procedures employed in his composition Kontakte (1958—60), and as an aesthetic blueprint for his proceeding work, Momente (1961—64). In this article, Stockhausen described moment form as comprising a collection of autonomous units, or ‘moments,’ which are considered self-contained entities rather than dependent components within the largescale structure of the composition. Both within and across these moments, non-hierarchically organised musical parameters and (typically) nonteleological temporal strata interact in a manner that encourages multiple, simultaneous formal conceptions.10 In describing the interaction of materials, structure, and time, Stockhausen’s moment form theory introduced to musical discourse the concept of polyvalence:

Momente is not a closed work with an unequivocally fixed beginning, formal structure and ending, but a polyvalent composition containing independent events. Unity and continuity are less the outcome of obvious similarities than of an imminent concentration on the present, as uninterrupted as possible.11 Polyvalence is the inherent capacity of an object or form to be interpreted (and reinterpreted over time) according to a multiplicity of conceptions. Contemporaneous to the concept’s musical application, Dutch architect Herman Hertzberger introduced polyvalence to architectural theory in the 1960s. Hertzberger argues that ‘just like words and sentences, forms depend on how they are ‘read’ and which images they are able to conjure up for the ‘reader.’’12 Polyvalence arose as a response to utopian approaches to design that, despite their theoretical strength, fail to embrace the diversity and irrationality of humanity. Accordingly, the aesthetic

9 Karlheinz Stockhausen, ‘Moment-form: New Relations between Durations of Performance and Work and Moment,’ Texte zur elektronischen und instrumentalen Musik, vol. 1, (Cologne: DuMont, 1963). 10 This working definition of moment form shall be further contextualised and significantly expanded upon in Chapter 2. 11 Stockhausen, ‘Moment-form: New Relations between Durations of Performance and Work and Moment,’ quoted in Roger Smalley, ‘Momente: Material for the Listener and Composer: 1,’ The Musical Times 115, no. 1571 (1974): 25. 12 Toshio Nakamura, ed., Herman Hertzberger 1959-1990: Architecture and Urbanism Extra Edition Series (Tokyo: A+U Publishing, 1991), 22. 5

blueprint that Stockhausen’s polyvalent moment form offers is less a fixed scheme or sequence of events and more a sonic environment governed by a set of conditions.13 Despite its genesis as a compositional theory, the principles of moment form have since been adapted by theorists as an analytic tool to investigate the workings of form in discontinuous music comprised of autonomous units. The theory has received wide application to engage formal readings across a range of styles extending from the music of Debussy to composers of the present day.

The linking of moment form to the music of Donatoni is not a new idea. Though Donatoni’s stylistic journey witnessed a variety of influences and methods, a constant feature of the composer’s output was the employment of ‘a compositional procedure using panels.’14 Comprised of musical utterances differentiated by distinct textural, harmonic, dynamic, or rhythmic structures, works exhibiting panel construction can be traced as far back as Donatoni’s 1959 orchestral work Strophes, which the composer himself has retrospectively described as ‘his own interpretation of Stockhausen’s moment form.’15 Despite the composer’s claim, analysts are yet to apply moment form theory to Donatoni’s music.

Regardless of where the technique was applied across Donatoni’s stylistic evolution, panel construction offered the composer an alternative to the idea of musical motion as absolute:

As the light segments that represent the time in a digital clock freeze each moment into place, similarly the panels represent a timeless musical instant that is freed from the concept of development as used, for examples, in classical sonatas.16

Given their shared aesthetic aims, moment form offers a global theoretical framework within which both Donatoni’s panel construction technique and his newfound artistic freedom can be accommodated. For this dissertation, however, it is not the pure theory of Stockhausen’s 1960 article that is proposed as useful in the analysis of Donatoni’s late solo works. Rather, a specific orientation within the analytic strategy is proposed.

13 These conditions shall be outlined in detail in chapter 2. 14 Enzo Restagno, ‘Un’autobiografia dell’autore raccontat da Enzo Restagno’ in Donatoni (Turin: EDT, 1990), 26. 15 Restagno, ‘Un’autobiografia dell’autore raccontat’, 24. 16 Restagno, 24. 6

1.4 Fundamental Orientations and Propositions

In applying moment form theory to analysis, it is crucial to recognise a variable that defines the analytic strategy and the various orientations within it. The variable concerns the degree to which unifying and continuous elements are recognised and embraced by the strategy. With its genesis in the radically discontinuous music and ideological dogma of the 1950s Darmstadt School, the conditions codified at the form’s outset constrain its analytic applicability to the repertoire of its time and place. The pure version of moment form theory views the structure of the composition as a collection of totally autonomous moments that, when taken to the extreme, drastically compromises the global architectural coherence of the work. However, modifications subsequently imposed by Stockhausen, other composers, and analysts have evidenced varying degrees of unifying and continuous elements embraced by the theory.

Eighteen years following the initial promulgation of Stockhausen’s ideas, Jonathan Kramer would both confirm and substantiate the presence of unifying and continuous elements as a parameter existing within the governing structure of moment form:

[…] composers of moment form have not given up on continuity entirely; that would be a fiction, because implication is still possible, and the discomfort of continuity can be used positively. But implication is now localized because it has become but one possibility within a large universe; continuity is no longer part of the musical syntax, but rather it is an optional procedure. It must be created or denied anew in each piece, and thus it is the material and not the language of the music.17

However, a decade following this comment, Kramer would revise the purely material function he had assigned to unity and continuity. The force of these elements appears to seep into the formal discourse of the music, underscored by his claim that ‘coherence and continuity must be tucked away in the background (in both senses of the term), so that their force is felt only subliminally as a nonlinear phenomenon.’18 At the same time, Kramer relaxes the conditions defining the moment: ‘[t]he moments must belong together in some way. They must reveal a consistent totality, even though they do so by nonlinear means.’19 This leads to Kramer’s significant redefinition of ‘moments’ as constituting ‘self-contained entities, capable of standing on their own yet it some nonlinear sense belonging to the context of the composition (emphasis added).’20 The implication of a reciprocal connection between the moment and the composition’s global

17 Johnathan D. Kramer, ‘Moment Form in Twentieth Century Music,’ The Musical Quarterly 64, no. 2 (1978): 179. 18 Jonathan D. Kramer, The Time of Music (New York: Schirmer Books, 1988), 208. 19 Kramer, The Time of Music, 208. 20 Kramer, The Time of Music, 208. 7

context confirms that the theory had disconnected from its original single-minded focus on disunity and discontinuity.

Kramer’s 1988 revisions of the theory are tied to his formulation of ‘moment time,’ which he defines as the ‘temporal continuum of a moment-form composition.’21 In investigating the listening mode associated with the form, Kramer circled back to Stockhausen’s original intent of introducing moment form in what Marianne Wheeldon explains as ‘a way of accommodating listeners[…] Stockhausen wanted to create a form that granted listeners the freedom to come and go at will, without compromising their experience of the composition itself.’22 In his investigation of moment time, Kramer separates the listener’s conception of musical time (the ‘temporal continuum’ triggered by their contemplation of musical form), and their conception of absolute (or clock) time. For Kramer, this exposed moment form theory’s inherent paradox:

If the music’s structure is predominantly nonlinear, as occurs in moment time, then our nonlinear memory will contribute more critical information about the form than our absolute- time listening. This is the ultimate paradox of moment time: Its musical continuum is nonlinear, yet it is unavoidably heard as a succession in absolute time.23

Kramer defines the role of the listener as imposing a sense of continuity and unity in moment form:

A composition in moment form offers a mosaic of discrete sections. The nonlinear relations (or lack thereof) between segments of the mosaic are essential to the structure. However, there are also inevitably linear relations between these segments, in the perception of them if not actually inherent in them. Moment time represents a denial of these linear relations. But we (as least we of Western culture) are beings whose process of perception necessarily involves finding linear structures in, or even imposing linear structures on, out temporal experiences.24

To Jonathan Harvey, the role ascribed to the listener in imposing structure on the temporal experience of moment form sees the composition itself relinquished from supplying form:

If music is injected into form, the moment-to-moment ‘content’ is liable to come up with some curious things, as opposed to the logic and coherence of global forms […] works in ‘moment’ form, of which the composer has stated that all that matters is the ‘now’ […], offer content without the form. […] the listener instinctively supplies form.25

21 Kramer, The Time of Music, 453. 22 Marianne Wheeldon, ‘Interpreting Discontinuity in the Late Works of Debussy,’ Current Musicology 77, no. 1 (2004): 99. 23 Kramer, The Time of Music, 219. 24 Kramer, The Time of Music, 220. 25 Jonathan Harvey, The Music of Stockhausen (Berkeley: University of California Press, 1975), quoted in Kramer, Time of Music, 209. 8

Robin Maconie similarly observes the imposition of the listener’s memory in the temporal experience of moment form. In his 1990 analysis of Stockhausen’s Momente, Maconie finds a literary parallel in the stream-of-consciousness novel which embraces the freedom of the audience’s memory to work in both a linear and nonlinear manner:

The text is meditative in character and episodic in structure. It depends neither upon action nor upon chronological sequence for its effect. Events recollected order themselves by association, not by cause and effect, and the pattern of association can vary according to what attribute the memory may choose to recall.26

Maconie’s ‘pattern of association’ can be understood as engaging what Kramer conceptualises as a ‘cumulative’ mode of perception:

The self-containment of moments allows the listener to understand them as entities. The way these entities add up to a coherent whole is understood through cumulative listening, a mode of perception which is quite possible in the absence of large-scale linear processes. As we listen to a piece, we accumulate more and more information concerning its form. The more we hear, the more we understand the nonlinearity embodied in the consistency and balance (or lack of it) that generate the nonlinear form.27

Finding resonance with Bergson’s philosophical stance on memory and perception, Kramer’s ‘cumulative’ mode of perception involves the nonlinear interpenetration of past and present. According to these views, the temporal experience of moment form is better understood as a process of formation, rather than of form.

The discussions presented above exemplify a new attitude towards the role of the listener; one that embraces and empowers the agency of the listener’s perception. Given the prevalence of such understandings, moment form theory as an analytic strategy would similarly be required to embrace the continuities and associations inevitably imposed by the listener. Thus, the necessity for a flexible moment form theory emerges. Regardless of whether this flexible approach is a logical extension of Stockhausen’s original idea—or an entirely new formal paradigm—flexible approaches to moment form theory have been tested and implemented as both a compositional model and an analytic strategy across the concept’s sixty-year history.

In his application of moment form theory to the analysis of works by John Adams (1947—), Michael Ridderbusch proposes an orientation of the theory that examines unity and disunity as ‘complementary reciprocals operative on a continuum,’ instead of a ‘totalising discourse of

26 Robin Maconie, The Works of Karlheinz Stockhausen (Oxford: Oxford University Press, 1990), 128. 27 Kramer, Time of Music, 52. 9

irreconcilable opposites operative as polarities.’28 This orientation is congruent with William van Geest’s claim that:

[t]he coexistence of unity and disunity is not only possible, it is necessary. In order for a claim for unity to bear analytical significance, it must be in spite of a disunity of some type. Indeed, to imagine a situation where a work’s elements only displayed unity would be just that – a philosophical exercise.29

By adopting this orientation, this dissertation works from the proposition that unifying elements in Donatoni’s late works contribute compositional coherence to his music, whilst disunifying elements contribute compositional momentum. The composer’s skilful balance of coherence and momentum through musical form facilitates a mode of listening wherein the perception of linearity/continuity and nonlinearity/discontinuity is constantly challenged. In his skilful articulation of the threshold that divides the contemplation of the past, present, future, and eternal, Donatoni’s late solo works exemplify a virtuosity of form. It is this dissertation’s aim to propose a method of analysis that exposes this compositional virtuosity.

1.5 Trajectory

The two-part structure of this dissertation serves to outline the methodology alluded to above and demonstrate its utility in analysing the late solo works of Donatoni.

Part I contextualises moment form theory as a compositional and analytic strategy by examining the concept of discontinuity in Western art music. This is followed by an investigation of moment form theory in its purest terms, outlining the governing principles and conditions. Modifications of the theory shall be assessed through examination of Stockhausen’s own writings and compositions, as well as the flexible application of the theory both by theorists as an analytic tool, and composers as a compositional procedure. These modifications shall then be outlined as conditions for a flexible moment form theory, and an accompanying analytic method supplied. This method shall be organised as a sequence of steps, with explanations of the basic analytic operations. In order to test the validity of the methodology, a recent analysis of Donatoni’s late solo work Incisi (1995) shall be reworked according to this methodology. Results emerging from this process shall demonstrate the methodology’s success in generating formal interpretations unmapped by current analytic approaches.

28 Michael Ridderbusch, ‘Form in the Music of John Adams’ (D.MA, West Virginia University, 2017), 71. 29 William van Geest, ‘The Concept of Unity in Musical Analysis: Some Ontological Issues,’ (paper presented at the 5th International Conference of Students of Systematic Musicology, Montreal, Canada, May 24th-26th 2012) 10

Part II of this dissertation presents three extended methodological applications of flexible moment form theory, analysing the first movement of Clair (1980) for solo clarinet, the first movement of Ombra (1984) for solo contrabass clarinet (or bass clarinet), and the second movement of Soft (1989) for solo bass clarinet. As a result, this dissertation functions to successfully implement flexible moment form theory as an analytic methodology, expand upon the current analytic discourse pertaining to both Donatoni and moment form scholarship, and illuminate its potential for future analysts, performers, and listeners of Donatoni’s late solo works.

11

2. Toward a Flexible Moment Form Theory

Stockhausen’s moment form theory would be promoted by his student Roger Smalley (1943— 2015) as ‘the only really new, linguistically independent and therefore generally applicable formal concept to have arisen since 1945.’30 The viability of the form continues to be celebrated by today’s composers and analysts who persist in exploring both its artistic and theoretic potential. This chapter takes a chronological approach in its examination of the evolution, codification, expansion, and modification of moment form theory across its sixty-year history. The objective is to promote a comprehensive understanding of the theory in both its pure and flexible manifestations, thereby illuminating the optimal application of moment form theory to the form of Donatoni’s late solo works.

By undertaking a brief study of discontinuity in twentieth-century Western music, this chapter identifies the preceding ideas and techniques that would evolve into the key tenets of moment form’s theory. The theory shall then be outlined in its purest terms according to the codifying principles introduced in Stockhausen’s writings and lectures of 1960—63, and their further elucidation in the writings of Smalley. By examining Stockhausen’s later writings alongside the compositions and analyses of others, this chapter shall then assess the theoretical and practical applications of moment form theory in all its flexible manifestations. In utilising this assessment, the conditions of a flexible moment form theory are deduced and used to inform an accompanying analytic methodology. Subsequent chapters of this dissertation shall apply this methodology to the late solo works of Donatoni.

2.1 Antecedents of Moment Form

For Jonathan Kramer, the fractured conception of time engendered by modernism would have severe ramifications for the notion of continuity in music:

There is something artificial, something otherworldly, about the idea that one musical event can actually progress to another. Even listening to the most innocently linear tonal music involves some sense of contradiction. The conflict is not in the music: the conflict is between how the music uses time and how a contemporary listener understands time.31

30 Roger Smalley, ‘Momente: Material for the Listener and Composer: 1,’ The Musical Times 115, no. 1571 (1974): 23. 31 Kramer, ‘Moment Form in Twentieth Century Music,’ 178. 12

By challenging established formal paradigms and understandings of time and perception, the work of Erik Satie (1866—1925) marks an early representation of discontinuity in Western music. In his analysis of the aptly titled Prélude in tapissene (‘Tapestry Prelude’) (1906), John Supko identifies a ‘mosaic construction’ of thematically distinct cells of music distinguished from one another by contrasting dynamic markings, articulation and performance indications. Supko observes that by ‘jump-cutting from idea to idea, Satie reduces harmony to the status of being simply one of several characteristics of a particular cell of music, depriving it of its power to steer the overall composition in any one direction.’32 Despite Satie’s re-harmonisation and transposition of the motives of the cells on subsequent iterations, no sense of harmonic teleology emerges. Multiple seeds of moment form are observable in the compositional techniques employed by Satie: texturally juxtaposing autonomous units, nonteleological temporal strata, and most significantly, the non-hierarchical interaction of musical parameters set in motion by Satie’s dissociation of form and harmony.

Satie’s late work Cinéma (1924), composed to accompany the René Clair film Entr'acte of the same year, also exhibits traits of moment form in its collection of one-measure motivic ostinatos, the repetition of which serve to match the duration of a single shot of the film. The autonomous character of each motivic unit is starkly defined by contrasts in tempo, key signature, instrumentation, texture, and dynamics. Timed to match the cuts in the film, the succession of motivic units sees the ostinatos arbitrarily start and stop, denying any sense of closure. The nonteleological infinite repetition occurring within each unit is reflected globally by a lack of linear structure across the musical work; the film itself acts as the narrative counterpoint to the music’s mechanical regularity.

The motivation for Marianne Wheeldon’s moment form analysis of late piano works of Claude Debussy (1862—1918) stems from the inspiration the Darmstadt avant-garde composers found in the composer’s late works, as documented in the writings of Herbert Eimert (1897—1972) and Pierre Boulez (1925—2016).33 Wheeldon notes that Debussy’s orchestral work Jeux (1912) was of particular interest to the Darmstadt School, and was used as a model to legitimize their formal experiments. 34 Wheeldon discusses Eimert’s and Boulez’s interpretation of Jeux as rejection of a hierarchical notion of form, quoting Boulez’s assertion that:

32 John Supko, ‘Points and Lines: The Music of Erik Satie,’ (PhD. Diss., Princeton University, 2009), 105. 33 Wheeldon, ‘Interpreting Discontinuity in the Late Works of Debussy,’ 97. 34 Wheeldon, 97. 13

[o]ne must experience the whole work to have a grasp of its form, which is no longer architected, but braided; in other words, there is no distributive hierarchy in the organization of ‘sections’ […] but successive distributions in the course of which the various constituent elements take on a greater or lesser functional importance.35 The manner in which Boulez exalts Debussy’s handling of successive discontinuous ideas into a ‘braided’ whole identifies Debussy as a pioneer in conceptualizing form as an accumulative process. Giving rise to the notion of form as residing externally to the composition, this recognition of the agency of listener perception would prove significant in the development of the polyvalent approach—one that embraces multiple simultaneous conceptions of form— central to moment form theory.

In his analysis of Igor Stravinsky’s Symphonies of Wind Instruments (1920), Edward Cone identifies an ‘accumulative’ approach to the discontinuous deployment of musical content, rather than a teleological method. This approach would be codified by Cone as ‘block form’ theory.36 In ‘Stravinsky, The Progress of a Method,’ (1962), Cone applies block form theory to recognize the relationship of one musical unit, or block, to the next, a process he labels ‘stratification.’37 Also recognized by Cone is the long-range relationship of a musical unit to its associated instantiations. Termed ‘interlock,’ this process recognizes identifiable stratum of material associated by melody, tempo, harmony, or timbre, which are linked by consistent voice-leading across interrupted instantiations.38 Cone’s process of ‘synthesis’ involves the unification of these previously separate strata.39 According to Cone’s theory, musical form results from the order, recurrence, and unification of blocks. Cone’s analysis of Symphonies reduces the piece according to six distinct strata, from which he identifies connection between and within each strata’s discontinuous instantiations.

Jonathan Kramer’s analysis of discontinuity in Stravinsky’s Symphonies through the lens of moment form theory is underscored by the rationale that it is not a pure moment form composition, but rather a work in which moments exist on multiple temporal strata. Kramer’s analysis is critical of several of the continuities that Cone posits, claiming ‘it is not true, however, that each stratum provides continual resumption of previously suspended activity. Each stratum heard by itself does not make musical sense.’40 Kramer is also critical of Cone’s claim of an

35 Pierre Boulez, Stocktakings from an Apprenticeship, ed. Paule Thévin, trans. Stephen Walsh, (Oxford: Clarendon Press, 1991), 155, quoted in Wheeldon, ‘Interpreting Discontinuity,’ 99. 36 Edward Cone, ‘Stravinsky: The Progress of a Method,’ Perspectives of New Music 1, no. 1 (1962): 19. 37 Cone, ‘Stravinsky: The Progress of a Method,’ 19. 38 Cone, 21. 39 Cone, 21. 40 Kramer, The Time of Music, 280. 14

accumulative approach to form, arguing that ‘in several instances, Cone’s connections across intervening moments are not really voice leading, since there are more obvious step connections to the interim moment(s). Stratum definition is more a matter of identity […] than of progressive identity.’41 Kramer’s analysis does, however, highlight the significant parallels between Cone’s block form theory and moment form theory.42 Whereas Stravinsky’s network of local and global unifying elements are highlighted by Cone’s processes of stratification, interlock, and synthesis, Kramer’s moment form analysis of Symphonies privileges the work’s discontinuous elements, rationalizing their proportional relationships as a key element of structure.

In The Stravinsky Legacy (2005), Jonathan Cross draws a direct parallel between the ‘block structures’ exhibited in Stravinsky’s The Rite of Spring (1913) and Symphonies of Wind Instruments (1920) and ‘Stockhausen’s attempt to build new forms independent of models of the past, devoid of the old kinds of narrativity and connectedness.’43 For Cross, ‘the music of both Stravinsky and Stockhausen—their shared modernism—appears to be concerned with suggesting continuities while simultaneously maintaining discontinuities.’44 For Kramer, the music of Olivier Messiaen ‘forms a link […] between early Stravinsky and the Stockhausen circle.’45 Kramer cites Messiaen’s early work L’Ascension (1931—35) as exhibiting ‘features of moment construction, of permutational techniques, and a downplaying (though certainly not a denial) of goal-directed processes. Developmental processes […] tend to be localized.’46 The direct links established between Stravinsky’s and Messiaen’s formal approaches to discontinuity and Stockhausen’s conceptualization of moment form theory lay the foundation for the following discussion, which examines moment form’s immediate aesthetic and theoretical context as well as its defining key tenets and principles.47

41 Kramer, 280. 42 The correlation between Cone’s block form theory and pure moment form theory is fully embraced by Michael Ridderbusch in his DMA dissertation on ‘Form in the Music of John Adams’ (West Virginia University, 2017). Ridderbusch essentially views the two forms as existing on a continuum. Whereas block form privileges unity, moment form privileges disunity. This dissertation adopts the same perspective: flexible moment form can be situated on the same continuum, located somewhere between the block form and pure moment form. 43 Jonathan Cross, The Stravinsky Legacy (Cambridge: Cambridge University Press, 1998), 56, quoted in Ridderbusch, ‘Form in the Music of John Adams’, 73. 44 Cross, The Stravinsky Legacy, 57, quoted in Ridderbusch, ‘Form in the Music of John Adams,’ 73. 45 Kramer, The Time of Music, 214. 46 Kramer, 214. 47 Due to the limited scope of this section, several significant works worthy of inclusion by Edgard Varèse, Charles Ives and others have not received mention. Their omission is not intended to indicate lesser significance. 15

2.2 Pure Moment Form

Alongside the writings, lectures, and compositions of Stockhausen, this dissertation’s elucidation of the key tenets and governing principles of pure moment form draws from the significant contributions made to the development of the theory by Roger Smalley, Jonathan Kramer, and Marianne Wheeldon. Roger Smalley’s 1974 article ‘Momente: Material for the Listener and Composer’48 concretizes Stockhausen’s abstract philosophical ambitions through an examination of the formal principles and techniques exhibited in the composition, Momente. These principles and techniques would find further expression in Smalley’s own compositions. Jonathan Kramer’s 1978 article ‘Moment form in twentieth-century music,’49 and his 1988 book The Time of Music,50 demonstrates the theory’s analytic potential through its application to compositions of its time, as well as anachronistically to the work of Stravinsky, Messiaen, Varèse and Ives. Marianne Wheeldon’s 2004 article ‘Interpreting Discontinuity in the Late Works of Debussy’51 distils the ideas of both Stockhausen and Kramer, setting out the key tenets of moment form in a systematic manner for her own application of the theory.

For Smalley, the total integration of musical parameters that characterised the 1950s Darmstadt aesthetic resulted in ‘fairly improbable situations, as well as a widespread lack of understanding on the part of listeners.’52 The formulation of the moment form concept arose amidst a realisation that ‘the scale of organization would have to be expanded if the musical processes were to be clearly followed.’53 In ‘Moment Form’ Stockhausen proposes a solution persuasive not in terms of specificities of technique, but rather in terms of philosophical ambition:

Every present moment counts, as well as no moment at all; a given moment is not regarded as the consequence of the previous one and the prelude to the coming one, but as something individual, independent and centred in itself, capable of existing on its own. An instant does not need to be a particle of measured duration. The concentration on the present moment – can make a vertical cut, as it were, across horizontal time perception, extending out to a timelessness I call eternity. This is not an eternity that begins at the end of time, but an eternity that is present in every moment. I am speaking about musical forms in which apparently no less is being undertaken than the explosion – yes – even more, the overcoming of the concept of duration.54

48 Smalley, ‘Momente: Material for the Listener and Composer: 1’ 49 Kramer, ‘Moment form in twentieth-century music’ 50 Kramer, The Time of Music 51 Wheeldon, ‘Interpreting Discontinuity in the Late Works of Debussy’ 52 Smalley, ‘Momente’, 26. 53 Smalley, 26. 54 Seppo Heikinheimo, The Electronic Music of Karlheinz Stockhausen, trans. Brad Absetz (Helsinki: Acta Musicologica Fennica, 1972), quoted in Kramer, The Time of Music, 201. 16

From Stockhausen’s abstracted musings on the nature of time and its relationship with the individual, it is possible to extrapolate the guiding principles that dictate the application of pure moment form. Wheeldon summaries the form’s ‘key issues’ as:

• the autonomy of the individual moment; • the arbitrary succession of moments; and • the requirement of ‘endlessness.’55 Smalley’s understanding of moment form’s global principles can be summarised as:

• a polyvalent, non-hierarchical approach toward material and form; • an acceptance of diverse materials; and • the non-coercion of materials, or a prioritisation of material over system. The following discussion expands upon these principles, examining the specificities of technique for their practical realisation.

Concerning the autonomy of the individual moment, moments are defined as self- contained entities whose existence remains totally independent of those which surround it. Regardless of their duration or textural density, moments are hierarchically equal structures. Stockhausen describes moments as ‘something individual, independent, and centred in itself, capable of existing on its own.’56 The individual moment is defined by internal consistencies that may be diverse in presentation (i.e. harmonic, rhythmic, dynamic, textural), which promote contemplation of the present and mitigate any sense of teleological motion. Kramer explains the relationship between the autonomous moment and the listener’s perception of moment time:

If a given passage generates no continuation, development or return, then the music offers no subsequent structural cues to help us remember. […] A moment form composition, in which sections are never outgrowths of earlier sections […] seeks to deny memory. Instead, moment music focuses out attention on the now: It places a priority on perception above memory.57 The self-containment of the moment is provided either by stasis—such as an unchanging harmony or texture—or a process that, importantly, achieves its goal within the course of the moment. Thus, in a moment of processive construction, motion is acceptable at an intra- moment level, so long as it does not imply motion at an inter-moment level.

55 Wheeldon, ‘Interpreting Discontinuity in the Late Works of Debussy,’ 111. 56 Karlheinz Stockhausen, ‘Momentform: Neue Zusammenhange zwischen Afführungsdauer, Werkdauer und Momente,’ in Texte zue elektronischen und instrumentalen Musik, vol. 1 (Cologne: M. DuMont Schauberg, 1963), 200, quoted in Wheeldon, ‘Interpreting Discontinuity,’ 100. 57 Kramer, The Time of Music, 219. 17

The principle concerning the arbitrary succession of moments sees that moments are defined as non-hierarchical and nonteleological. Accordingly, moments must follow on from one another in a completely arbitrary manner, devoid of the implication of growth or goal- direction. Given that a moment form composition is perceived as a trail of arbitrarily ordered events, the possibility of indeterminate construction arises. As Kramer explains:

The extreme of moment form, in which the order of moments not only seems but actually is arbitrary, is ‘mobile’ form: the composer indicates that the sections of the piece may be put together in any of a number of possible orderings from one performance to the next, perhaps within certain restraints.58 In the purest terms of the form, moments are nonrelational and therefore are not connected by shared material.59 Moments cannot prepare or follow on from their adjacent moments, thereby refusing inter-moment transitions, the formation of inter-moment localised structures, or the emergence of global formal arcs or contours. Stockhausen explains the function of these conditions for the listener, declaring that moments:

[..] do no induce waiting for a minimum or a maximum, and the direction of their development cannot be predicted with certainty. They are forms in a state of always having already commenced, which could go on as they are for an eternity.60 This ideal of eternity is addressed by the requirement of endlessness. With the prohibition of developmental procedures, pure moment form requires an absence of any structures that denote the commencement or closure of ideas or processes. Rather than beginning or ending, Stockhausen stipulates that the moment form composition starts and stops: ‘[B]eginning’ and ‘ending’ are appropriate to closed development forms […], and ‘starting’ and ‘stopping’ are suitable for open moment forms. This is why I speak about an infinite form even though a performance is limited in its duration because of practical reasons.’61 Kramer explains the that function of endlessness for the listener is to ‘give the impression of starting in the midst of previously unheard music, and [to] break off without reaching any structural cadence, as if the music goes on, inaudibly, in some other space or time after the close of the performance.’62

58 Kramer, 50. 59 As will be explained in the following discussion on ‘Moment Form Modifications,’ this requirement was immediately relaxed by Stockhausen. The following section will demonstrate that Stockhausen’s compositions Kontakte and Momente both contain significant inter-moment sharing of material. 60 Stockhausen, ‘Momentform: Neue Zusammenhänge,’ 200, quoted in Wheeldon, ‘Interpreting Discontinuity,’ 100. 61 Stockhausen, 199, translated by and quoted in Heikinheimo, The Electronic Music of Karlheinz Stockhausen, 120-21. 62 Kramer, ‘Moment Form in Twentieth Century Music,’ 180. 18

The principle of a polyvalent approach toward material and form is connected to the notion that form resides within the listener rather than in the composition itself. Accordingly, Smalley makes a distinction between ‘formal schemes’ and ‘formal processes.’ ‘Formal schemes,’ such as sonata or rondo forms, ‘assume the presence of specific formal elements (first subject, second subject, etc.).’63 The fixed nature of the ‘scheme’ means that the composer conceptualises form as residing within the composition. Conversely, ‘formal processes’ such as moment form do not impose formal elements on a composition, but are models that ‘govern the interaction and distribution of all parameters.’64 The composer thus conceptualises form as a process of interactions between the composition’s arrangement of sounds and the agency of the listener’s perception. For Smalley, the distinction between ‘scheme’ and ‘process’ sees the composer’s role shift from one of ‘discovery’ to one of ‘synthesis, of bringing the material he has chosen into meaningful relationships and combinations.’65 ‘Synthesis,’ at its heart, is about processes of interaction. These processes do not impose artificial operations onto the material that are disconnected to its construction. Rather, they evolve ‘from the totality of possibilities inherent in the diverse materials which the composer brings together for each particular work.’66

As Christopher Mark observes, the polyvalent orientation is realised in Smalley’s own moment form compositions ‘not so much [in] that sections have become concerned with the ‘Now,’ but that they had to be composed with many different possible continuations in mind.’67 This echoes Richard Toop’s description of the moment form ‘approach’ which sees the composer ‘list all the available parametric combinations, and investigate ways of grouping and interrelating them, without giving a priori preference to any single ordering.’68 To accomplish this synthesis, Smalley claims ‘a composer must be aware of all the potentialities of his material before he actually begins to notate the score. […] When this has been done the composer is in a position, vis-à-vis his material, of someone flying over a town rather than someone walking through its streets.’69

63 Smalley, ‘Momente,’ 26. 64 Smalley, 26. 65 Smalley, 26. 66 Smalley, 26. 67 Christopher Mark, Roger Smalley: A Case Study of the Late Twentieth-Century Composition (Farnham, Surrey: Routledge, 2012), 96 68 Grove Music Online, s.v. ‘Stockhausen, Karlheinz’ by Richard Toop, accessed January 30, 2020, https://www- oxfordmusiconline-com. 69 Smalley, ‘Momente,’ 26. 19

The value attributed to diversity of materials is a consequence of the composer’s polyvalent approach towards materials and form. As Smalley describes, the moment form composer ‘is moving in all directions in a materially circumscribed world.’70 This non-hierarchical attitude toward materials can be understood as a reaction to the continued importance ascribed to pitch systems well into the twentieth century. Smalley is critical of the methods of the integral serialists, remarking that the total integration of all parameters ‘is, however, something of an illusion, since pitch actually retained its dominant position because of the fact that a pitch series was always arrived at first, and an attempt was then made to organise the other parameters on an equivalent basis.’71 Moment form offers the opportunity to explore ‘our expanded sound-world [that] now includes so many percussive, noise and pitchless elements that it would, in any event, be unprofitable, if not impossible, to think again primarily in terms of pitch.’72 The value ascribed toward diverse materials and their non-hierarchical interaction is evidenced in Smalley’s composition Pulses (1994) for brass and percussion ensemble, a work which the composer ‘conceives as a composition in layers, of continually fluctuating densities.’73 Smalley describes a diversity of parameters arranged in a polyvalent manner: ‘[e]ach moment is formed from a unique combination of instrumentation, length, speed, and rhythmic characteristics – all determined by strict mathematical permutation so that each combination occurs only once.’74

As Smalley’s compositional approach in Pulses demonstrates, the non-hierarchical approach to musical parameters does not imply a lack of musical organisation. For Smalley, ‘virtually every parameter is organised to some degree, the systems are chosen according to the nature of each different type of material.’75 This prioritisation of material over system is justified according to the moment form principle concerning the non-coercion of materials, which sees the composer deal with materials with an attitude of assimilation rather than integration. Stockhausen’s philosophical statements are the origin of this value. Smalley quotes Stockhausen on his use of folk music in the composition Telemusik: ‘I wanted them to feel ‘at home’ and not ‘integrated’ by some administrative act, but rather, genuinely engaged in an untrammelled

70 Smalley, 27. 71 Smalley, 26. 72 Smalley, 26. 73 Roger Smalley, ‘Pulses 5 x 4: An Introduction,’ The Musical Times 110 no. 1516 (1969): 598, quoted in Mark, Roger Smalley, 96. 74 Smalley, ‘Pulses 5 x 4,’ quoted in Mark, Roger Smalley, 95. 75 Smalley, ‘Momente,’ 27. 20

spiritual encounter.’76 Even Smalley, who is typically pragmatic in the interpretation of his teacher’s philosophising, finds inspiration here:

This is a reflection of the relativistic nature of the physical world and of our search to define our own position within it by integrating the plurality of information about ourselves and others of which we are increasingly and unavoidably made aware. […] Moment-form also reflects if not the actuality then at least the desire for a society in which the rights of all individuals are respected.77 The moment form principle concerning the non-coercion of materials is achieved by the composer by the manner in which the materials typically do not progressively develop. Rather, the materials expand and contract, or are texturally recast. Smalley’s composition Strata (1970) for amplified string orchestra demonstrates such an approach to its harmonic material. According to Smalley’s own analysis, the work explores the inner potential of a ‘generating chord’ (an all-interval wedge comprised of intervals increasing in size by semitone from its uppermost pitch of G6). Each moment is ‘based on single intervals from the fundamental chord, which are extended to form melodic/harmonic modes […] On each of the 11 intervals a subsidiary harmony is built up by reduplicating the interval on top of itself until the next pitch- class would be the same as the first.’78 Thus, without being coerced into progressive development, the potential of the generating chord is realised through the distribution of its intervallic elements across the entire composition.

Following this examination of the key tenets and governing principles of pure moment form, the conditions of pure moment form are concluded to be:

• Inter-moment return, continuation, and development of material is prohibited; • Inter-moment implication, growth, or goal-direction is prohibited; • The commencement or closure of global sections or processes is deemphasised; • Materials and parameters are organised non-hierarchically; • Materials are assimilated, not integrated. Each of these conditions can be understood as endorsing the predominant principle of a polyvalent approach toward materials and form. The following section examines flexibilities and modifications imposed upon these conditions by Stockhausen and others that have enabled unifying and continuous elements to be embraced by moment form.

76 Smalley, ‘Momente,’ 27. 77 Smalley, ‘Momente’, 27. 78 Roger Smalley, ‘Moving into Accord’ in Poles Apart: The Music of Roger Smalley, ed. Judy Thönell (Perth: Evos Music and CIRCME, 1994), 37, quoted in Mark, Roger Smalley, 95. 21

2.3 Moment Form Modifications

Musical works are valued not for the closeness of their correspondence to compositional theories, many of which are half-baked, logically inconsistent, or simplistic (speaking only of those that are comprehensible): they are valued for the quality of their invention and their internal cogency. It would make better sense to view such theories as enabling devices, offering new possibilities but also setting up ‘rules’ that will often be more productive to break than to observe.79 In examining Stockhausen’s departure from the practices of the pure moment form theory, Christopher Mark argues that the twentieth-century composer’s quest for processes and forms is one that is forever unresolved. Across its sixty-year history, moment form theory has proven itself worthy not as a solution, but rather as an enabling device that would be challenged and redefined by composers and analysts alike.

The Moment Form Problem

Common to the revisions imposed upon pure moment form theory by Stockhausen and others is the identification of a logical inconsistency concerning the temporal experience of the form. Returning to Stockhausen’s 1960 description of moment form, the unequivocal temporal articulation of the autonomous moment—its ‘vertical cut […] across horizontal time perception’—is crucial to moment form’s ‘concentration on the present.’80 It is here where Kramer identifies a paradox; the perceptive depth of this ‘vertical’ incision is simultaneously intensified and mitigated by the autonomous nature of the moment. In describing this phenomenon, Kramer argues that ‘if no moment ever returned, the requirement of constant newness would in itself imply a kind of progression, because the listener would always expect that the next moment would always differ from all previous moments.’81 Thus, in prohibiting the return of previously heard material, the application of the theory’s purest conditions risks the listener entering the ‘verticality’ of the composition whereby ‘the moment becomes the piece, discontinuity disappears in favour of total, possibly unchanging, consistency.’82 By emphasising constant disunity, the pure terms of the theory has the potential to manifest a constant stasis, as recognised by Stockhausen’s in his 1972 lecture on ‘Musical Forming:’

79 Mark, Roger Smalley, 96. 80 Stockhausen, 199, translated by and quoted in Heikinheimo, The Electronic Music of Karlheinz Stockhausen, 120-21. 81 Kramer, The Time of Music, 208. 82 Kramer, The Time of Music, 55. 22

If one wants to be different all the time a monotony occurs, because trying to be different from element to element all the time leads again to something, they all have in common, which means to be different, or trying to be different. And it levels out all the organic difference.83 Finding resonance with van Geest’s aforementioned position on the necessity for the coexistence of unity and disunity in music, Stockhausen’s comment concedes that a degree of unity and continuity is necessary to moment form. Unifying and continuous elements are thus valued as necessary counterbalances to prevent the ‘levelling out’ of momentum. Embracing a symbiotic relationship between the two cohabiting forces, it is this variation to the pure version of the theory that has inspired its flexible application both by composers and analysts alike.

Developing a flexible approach to moment form requires one to look beyond the purely compositional manifestation of the form. Therefore, this dissertation seeks to engage with the analyses of fellow theorists in order to acknowledge the limits and potentials of the form as an analytic strategy. Marianne Wheeldon’s 2004 analysis of Debussy’s Ondine from Préludes II (1913),84 Mark Hutchinson’s 2010 analysis of Dutilleux’s Mystére le l’instant (1989),85 and Michael Ridderbusch’s 2018 analysis of John Adam’s Son of Chamber Symphony (2007)86 each argue the value of a flexible moment form perspective toward shedding new light on works not considered from such an angle by their composer. The range of compositional styles and historical contexts these analyses represent demonstrate the extent of its utility. The following section examines the flexibilities applied to pure moment form theory by these analysts alongside the flexible application of moment form in compositions by Roger Smalley.

Flexibilities Applied to the Condition: Inter-moment return, continuation, and development of material is prohibited

In 1985, Stockhausen reassessed the condition prohibiting the return of material:

There can be moments which have no common elements, or as few common elements as possible, and there are moments which have a lot in common. Moment-forming simply means that there is also the extreme of no common material, and that every given moment has a certain degree of material that has been used before, and of material that is going to be used next. And I say ‘a certain degree.’ And I choose these degrees very carefully from moment to

83 ‘Lecture 1 [PARTE 1/4] Stockhausen Karlheinz – English Lectures (1972)’, filmed February 1972, YouTube Video, posted by Tomás Olano, January 2013, https://www.youtube.com/watch?v=lYmMXB0e17E, quoted in Ridderbusch, ‘Form in the Music of John Adams,’ 75. 84 Wheeldon, ‘Interpreting Discontinuity in the Late Works of Debussy,’ 85 Mark Hutchinson, ‘Snapshots in Sound: Mystère de l’instant and the Legacy of Moment Form,’ Contemporary Music Review 29, no. 5 (2010) 86 Ridderbusch, ‘Form in the Music of John Adams’ 23

moment, between zero and maximum. So the maximum means there is a moment so full of other influences of the past and the future that it is hard to identify this moment.87 Stockhausen’s breach of the conditions of his own theory is demonstrated by the composer’s application of ‘inserts,’ a procedure described by Smalley:

Each Moment can influence, and/or be influenced by, the Moments surrounding it according to inserts (Einschübe). A small number of highly characteristic sections from each Momente are reprinted on loose strips of paper. These strips have ‘tongues’ in the centre which can be inserted into vertical slits cut into the score.88 In the introduction to the 1972 recording of the ‘Europa Version’ of the Momente, Stockhausen describes the potential for the ‘inserts’ to both mitigate the identity of the moment, and to establish inter-moment relations:

The individual Moments are related to each other more or less strongly by so-called Einschübe. There are many degrees of reciprocal relationships between very strong Moments which receive no Einschübe at all and so many that their own ‘personality’ is scarcely audible any longer.89 This approach reveals the composer’s awareness of the inconsistencies inherent in the conditions of pure moment form theory. Christopher Mark goes further to assert that Stockhausen’s use of the term ‘inserts’ and description of some moments being ‘very strong’ introduces ‘a degree of hierarchy’ that is, in fact, antithetical to the form.90 However, the opposing stance may also be argued. In promoting the interplay of material across multiple formal levels and temporal strata, inserts function emphasise the form’s polyvalent nature.

Exploring its potential to create multiple temporal strata simultaneously, Stockhausen would embrace the sub-division of the moment, claiming ‘every formal unit that is recognizable by a personable and unchangeable characteristic.’ […] If a moment is divided by a change in one or more of its characteristic properties, I call these partial moments.’91 Kramer would redefine these partial moments as ‘sub-moments: a quasi-independent segment of a moment.’92

Wheeldon’s analyses of Debussy’s Ondine accommodates not only a breach of the condition prohibiting the inter-moment return of material, but also supports the material’s carefully calibrated periodic distribution. Wheeldon sees this level of organisation as, in fact, supporting the discontinuous nature of the composition: ‘the reiteration of ideas […] seems so calculated

87 Karlheinz Stockhausen and Jerome Kohl, ‘Stockhausen on Opera,’ Perspectives of New Music 23, no. 2 (1985): 25, quoted in Kramer, The Time of Music, 208. 88 Smalley, ‘Momente,’ 28. 89 Stockhausen, Momente (Europa Version), recorded December 1972, Deutsche Grammophon 2709055, liner notes by Karlheinz Stockhausen, quoted in Mark, Roger Smalley, 80. 90 Mark, Roger Smalley, 80. 91 Heikinheimo, The Electronic Music of Karlheinz Stockhausen, 143. 92 Kramer, The Time of Music, 454. 24

to avoid any one form from appearing too often and to avoid any resemblance to recognisable formal patterns.’93 Wheeldon’s diagrammatic representation of Debussy’s calculated distribution of recurring material is reproduced in figure 2.1. The regularity of the imbricating arcs of this diagram evidences Wheeldon’s assertion that the arbitrary succession of moments in Ondine is ‘artificially contrived, the effect is nonetheless a seemingly stream-of-consciousness succession of musical statements.’94 It is here where Wheeldon finds resonance with Kramer’s assertion that ‘the truly arbitrary is actually less surprising than the artificially arbitrary.’95

Figure 2.1: Calculated distribution of recurring content in Debussy’s Ondine.96

Wheeldon’s analysis of Ondine also accommodates a breach to the condition concerning the prohibition of inter-moment continuities, observing the bridging of moments by invariant pedal-points. Wheeldon notes that moments ‘are often combined into larger groups by sustained bass notes,’97 as demonstrated by a D bass pedal providing continuity across three moments. For Wheeldon, this bridging does not mitigate the work’s discontinuities but rather ‘reinforces the suggestion of openness […] for if the only audible means of connection between adjacent sections is their common pedal point, then these sections possess the potential to be reordered.’98 Wheeldon argues that this harmonic continuity articulates a separate temporal layer in which the condition of arbitrary succession is satisfied, noting that the moments ‘still will be linked by that pedal regardless of their internal ordering.’99

Ridderbusch’s analysis of motives in the first movement of Adam’s Son of Chamber Symphony challenges the condition of pure moment form theory that prohibits the inter-moment development of material. Ridderbusch’s analysis conceives the form of the composition as a coexisting sonata/moment form structure, and his observations concerning the development

93 Wheeldon, 111. 94 Wheeldon, 112. 95 Kramer, The Time of Music, 208. 96 Wheeldon, 111. 97 Wheeldon, 109. 98 Wheeldon, 109. 99 Wheeldon, 109. 25

of material are related to both its adherence to sonata and moment form conditions. Ridderbusch demonstrates how the pitch class material of a primary subject theme is transformed from ‘melodic content into arpeggiated chordal content’ and again into forming an entirely new theme through rhythmic diminution and intervallic expansion during the development section. However, Ridderbusch argues that although this material is ‘harmonically related to the exposition, the theme itself is not.’100 Here, the immediate deployment of the material in an expanded and texturally recast form sees it transform into a new identity, rather than connecting the related material through progressive development. Furthermore, by situating the recast material amongst an extensive range of new themes, Adams mitigates the possibility of the listener connecting the material to its source.

Flexibilities Applied to the Condition: Inter-moment implication, growth, or goal-direction is prohibited

Hutchinson’s flexible application of moment form to Dutilleux’s Mystére le l’instant considers each of the work’s ten ‘sharply contrasting’ movements as individual moments.101 Hutchinson accommodates breaches to the condition concerning inter-moment implication, noting Dutilleux’s ‘overlapping gestures and textures to ‘dovetail’ [moments] together so that it is never quite clear where one ends and the next begins.’102 This local-level transitioning occurs between the third and fourth movements where ‘the whole ensemble settles onto octave F sharp; this prepares the next movement, which is based around canonic lines which circle around the same pitch.’103 Hutchinson argues for the flexibility to this condition by claiming that ‘these ‘dovetailing’ links [are] only momentary; once the listener has settled into the new section, contrasting material is freely introduced.’104 Essential to this argument is Hutchinson’s observation that the dovetailing processes become ‘more extreme over the course of the piece: while early movements are separated at least to some degree […] from ‘Rumeurs’ onwards the overlaps are totally seamless.’105 Thus, the process of dovetailing is played out on two separate temporal strata: it functions to blur moment borders at a local level whilst reinforcing the escalating blur of the composition at a global level. In articulating two temporal strata, the process supports the form’s polyvalent nature.

100 Ridderbusch, ‘Form in the Music of John Adams,’ 90. 101 Hutchinson, ‘Snapshots in Sound: Mystère de l’instant and the Legacy of Moment Form,’ 500. 102 Hutchinson, ‘Snapshots in Sound,’ 506. 103 Hutchinson, 506. 104 Hutchinson, 506. 105 Hutchinson, 506. 26

Whereas Hutchinson argues for flexibilities concerning local-level connections, claiming that they ‘are more to do with a kind of immediate ‘free association’ than with any long-term logic,’106 Mark identifies entire moments which function as ‘transitional’ to adjacent moments in Smalley’s Songs of the Highest Tower.107 Mark contends that the transitions operate as ‘very static or very slowly changing sound masses’ which function to bring two different instrumental groups ‘as close to each other timbrally as possible.’108 One such transition connects the percussion and string groups: ‘the percussion move from bowed large suspended cymbals to bongos, then crotales, while the strings move from bowing on and behind the bridge to pizzicato harmonics.’109 However, the glacial movement that characterises this passage contributes a scale of motion that juxtaposes intensely with the adjacent moments, thus paradoxically emphasising the autonomous character of the transition itself and the moments that it bridges.

Tied to the variable moment form structure of Songs of the Highest Tower (whereby the order of moments can be varied from performance to performance according to a set of rules stipulated by the composer), Mark observes further processes of linear development. According to the rules set by Smalley, certain ‘moment groups’ must appear in a set linear order, whilst subject to the varied interpolation of other moments. Mark’s analysis shows that the set order of the moment groups is developmental, as evidenced by the harmonic development and expansion of texture across the ‘soloist’s moments:’

B1 is a simple monody in which the soprano sings […] almost entirely even durations, senza espressione; B2 is cast as a complement of B1 for the baritone with inverted and retrograded versions of the soprano’s pitch structures; and B3 is a more urgent duet for the soloists underpinned by spatially separated percussion […]; B4 sees the elaboration of B1 and B2 in closer alternation. The accompanying chords […] are in turn elaborated using Boulez’s ‘multiplication’ technique.110 Although breaching the condition prohibiting inter-moment development, the linearity that this process offers contributes the effect of ‘accumulation within an expanded space.’111 This expanding linear scheme reinforces the composition’s polyvalent nature through its interaction with static or contracting mobile and nonlinear temporal streams.

106 Hutchinson, 506. 107 Smalley himself referred to these as ‘transitional moments.’ See Mark, Roger Smalley, 84. 108 Mark, 84. 109 Mark, 84. 110 Mark, 81-84. 111 Mark, 84. 27

Similar interactions of temporal strata occur in Smalley’s variable moment form work Pulses. Development occurs ‘according to a set of instructions based on Stockhausen’s simplified form of the ‘plus-minus’ concept […].’112 A fixed ‘form plan’ sees the linear development of the material of previous moments through improvisation, while new moments are simultaneously introduced. Mark argues that this approach to development is ‘open-ended, corresponding more with Boulezian ‘continuous expansion’ than the goal-directed kind normally associated with tonal trajectories.’113 Smalley’s cohabitation of indeterminate and linearly directed processes serves to exacerbate the complexity of the composition’s temporal network.

Hutchinson’s examination of Dutilleux’s increased blurring of moment borders across Mystére le l’instant is echoed by his observation concerning an increasing degree of inter-moment implication. Hutchinson asserts that ‘different sections clearly do play different roles in the management of long-range tension and release,’114 and his analysis of the second half of the work reveals the establishment of ‘clear dramatic curve […] to which Dutilleux is careful to maintain.’115 Accordingly, the sixth movement acts as an ultra-compressed minute-long slow movement’ from which the seventh, eighth and ninth movements build:

to the final climax – each one raises the overall tension in a particular way. The ending of the work is certainly unequivocal in its dramatic force: following a cumulative, movement-long escalation in dynamic and pitch, which marks its final ‘arrival’ with the introduction of a Chinese gong, the final bars hammer out […] tutti chord in rhythmic unison across the entire register of the ensemble. There is no question here of the audience not knowing when to applaud.116 However, despite this formal contour, Hutchinson is careful to argue its adherence to moment form conditions, asserting that ‘[l]ong-term goals are essentially absent, because there is no clear logical sequence to section, and as such the ‘order’ of moments is arbitrary in theory.’ 117

Of the analyses and musical compositions consulted in this assessment of flexible approaches to moment form, the greatest degree of flexibility to the condition concerning inter-moment implication can be found in Ridderbusch’s dissertation. Ridderbusch regards the global structure in the first movement of Adam’s Son of Chamber Symphony as a ‘hybrid where the formal values of sonata and moment form are both operative.’118 Such a conceptualisation demonstrates the potential for Smalley’s ‘formal schemes’ and ‘formal processes’ to cohabit a

112 Mark, 90. 113 Mark, 93. 114 Hutchinson, ‘Snapshots in Sound,’ 504. 115 Hutchinson, 507. 116 Hutchinson, 504-5. 117 Hutchinson, 507. 118 Ridderbusch, ‘Form in the Music of John Adams,’ 92. 28

structure symbiotically. Ridderbusch’s illustration of two coexisting strata signifies that all elements contributing unity and continuity—including the global transformation and recapitulation of material—is pardoned by the work’s sonata form stratum. Accordingly, the substantial amount of untransformed ‘stranded’ material introduced in the development and coda sections are seen to function autonomously in a manner consistent with the works moment form stratum. The coexistence of the sonata form structure does not detract from the strength of the moment form stratum. In fact, the interplay between the two formal stratum serves only to emphasise the moment form stratum’s inherent polyvalent nature.

Flexibilities Applied to the Condition: Commencement or closure of global sections or processes is deemphasised

Debussy’s reiteration of an ‘arpeggiated flourish’ as ‘a closing gesture to signal the work’s end’ during the final moment of Ondine is interpreted by Wheeldon as ‘cultural lag.’ 119 For Wheeldon, the gesture highlights the composer’s insecurity with the openness of the form, an ‘openness from which Debussy needs to retreat.’120 The gesture ‘overcompensates for its structural ineffectiveness,’ and for Wheeldon, emphasises ‘ironically – those compositional features of Ondine that suggest formal openness.’121

In Adam’s Son of Chamber Symphony, Ridderbusch’s identifies a ‘local ternary form’ structure arising from the reappearance in the coda of content deployed for the first time at the end of the development. This material, labelled themes K and L by Ridderbusch, frames the reappearance of the primary and secondary subjects in the recapitulation. For Ridderbusch, ‘the close proximity of this stabilizing operation […] helps avert the impression of openness at the conclusion of the movement.’122 In accordance with his conceptualisation of the work as a hybrid sonata/moment form, Ridderbusch argues for the sense of closure that this structure affirms, asserting that the K and L material shifts from acting as ‘contingent, destabilising, autonomous events’ associated with moment form, to ‘unifying, dependent’ events associated with sonata form.123 This leads to Ridderbusch’s conclusion that ‘in this sense, the aesthetic balance in the coda is tipped in favour of the unity of sonata form over discontinuity.’124

119 Wheeldon, ‘Interpreting Discontinuity in the Late Works of Debussy,’ 113. 120 Wheeldon, 113. 121 Wheeldon 113. 122 Ridderbusch, ‘Form in the Music of John Adams,’ 92. 123 Ridderbusch, 91. 124 Ridderbusch, 92. 29

Hutchinson similarly observes the affirmation of closure provided by the reprise of material from the sixth movement in the penultimate movement of Mystére le l’instant, claiming ‘there is something almost cyclic about the reappearance of earlier material at this stage; it acts as a signal to the listener that the end is approaching.’125 However, this affirmation of closure is not interpreted as formal cliché or ‘cultural lag.’ Rather, Hutchinson argues that its position in the Métamorphoses movement ‘acts as another kind of ‘metamorphosis’ alongside the main transformational process of the movement.’126 Thus, the reprise connects with the long-range temporal stratum distinct from the midlevel temporal stratum of the movement in which it occurs. This interplay between different levels of temporal strata remains consistent with the value ascribed to the non-hierarchical interaction of processes and parameters in moment form, thus emphasising its inherent polyvalent nature.

2.4 Codifying Flexible Moment Form

The modifications applied by composers and analysts to the conditions of pure moment form identified in section 2.3 prove that unifying and continuous elements can successfully enter moment form structures. In doing so, these elements provide the necessary counterbalances that prevent the static consistency risked by the pure interpretation of the form’s conditions. The methods identified in section 2.3 enable these elements to influence moment form without destabilising its characteristic autonomous units, interacting temporal strata, and non- hierarchical organisation of parameters. Rather than being passively accommodated, these elements serve to amplify the form’s defining characteristics.

Extrapolated from the findings of section 2.3, the following conditions defining a flexible moment form are posited:

• Periodic return of material is permitted, so long as its distribution is perceived as unordered and arbitrary; • Inter-moment harmonic pedals are permitted; • Inter-moment motivic development through expansion, contraction, and textural recasting is permitted; • Transitions across moment borders are permitted, so long as the effect is localised;

125 Hutchinson, ‘Snapshots in Sound,’ 506. 126 Hutchinson, 506. 30

• The transitioning of one or more parameters to adjacent moments are permitted, so long as a high degree of juxtaposition is simultaneously apparent in non-transitioning parameters; • Development of thematic material across adjacent moments is permitted, so long as unrelated content is simultaneously deployed; • Development through nondeterminate processes is permitted; and • Establishment of global formal contours and processes pertaining to coexisting formal strata are permitted, so long as the relationship of formal strata remains non- hierarchical at a global level. Now that the conditions defining a flexible moment form have been identified, the following discussion outlines the analytic methodology for flexible moment form.

Flexible Moment Form Methodology

This section outlines a method for analysing discontinuous music exhibiting both systematic and non-systematic elements according to a four-step process:

1. Identification of work-specific materials, parametric behaviours, and moment borders; 2. Identification of intra-moment characteristics and processes; 3. Identification of inter-moment unities/continuities; 4. Formal interpretation. The specific requirements and operations for each of these steps are detailed below. Before embarking on extended applications of the methodology in chapters 4, 5, and 6, section 3.3 shall test the methodology in an analysis of the first movement of Donatoni’s late solo oboe work, Incisi. With the aim of demonstrating the potential for the methodology to give rise to formal interpretations that move beyond current analytic approaches, this section shall involve the reworking of Niamh Dell’s 2018 analysis of Incisi according to the flexible moment form perspective. Representative of current analytic approaches in its restricted ability to account for non-formalist elements and provide a comprehensive interpretation of global form, Dell’s findings shall be situated alongside new formal discoveries within the comprehensive formal framework that the flexible moment form strategy offers. This testing of the methodology shall also function to introduce new analytic terminology and analytic operations specific to the flexible moment form methodology.

31

Step 1. Identification of Work-Specific Materials, Parametric Behaviours and Moment Borders

Moments and the materials from which they are constructed are identified by privileging the musical surface as the basis for analysis. Moments are defined by consistencies in the behaviour of internal parameters. Moments borders are identified when a contextually sensitive degree of change in behaviour occurs.127 Consistencies of behaviour may be assessed according to one or more of the following parameters:

Pitch/Interval:

• Consistent presentation of a limited number of unordered pitch or interval classes; • Recurring patterns of ordered pitch or interval classes forming a motive or contour; and/or • Pitch or interval classes subject to intra-moment processes, or a limited pitch range. Rhythm:

• Consistent presentation of a limited collection of unordered rhythmic types; • Recurring appearances of multiple ordered rhythmic types forming a rhythmic motive or contour; and/or • Rhythmic types or motives subject to intra-moment processes. Dynamics:

• Static or processive presentation of dynamic markings juxtaposing with that of adjacent moments; and/or • Recurring dynamic markings synchronous to either pitch or rhythmic events. Articulation:

• Recurring presentation of one or more articulation types juxtaposing with adjacent moments; and/or • Articulation markings synchronous to either pitch or rhythmic events. Ornamentation:

• Consistent presentation of single or multiple ornamentation types (i.e. grace note, mordent) either synchronous or asynchronous to pitch or rhythmic events; and/or

127 Kramer notes ‘if there are large contrasts between sections [moments], a high degree of internal motion will not disturb the perceived staticism as it would in situations where the contrasts between sections are small. This threshold ultimately depends on the rate of flow of information’ in his 1978 article ‘Moment Form in Twentieth-Century Music,’ 183. 32

• Consistent presentation of single or multiple ornamentation types subject intra-moment processes. Thematic Construction:

• Consistent presentation of a single thematic voice (monothematic construction), or consistent ordered or unordered intra-moment presentation of several juxtaposing thematic voices (polythematic construction). Algorithmic Variables:

• Degree of determinate, nondeterminate, or totally random variables informing intra- moment processes.

Step 2. Identification of Intra-Moment Characteristics and Processes

The consistent elements and processes that define the moment are assessed according to:

• Identification of origins of pitch or rhythmic material and examination of relationship with associated material; and • Identification of intra-moment associations and processes, typically expressed either through associative analysis, serial analysis, or according to algorithms expressed through prose (when simple) or pseudocode (when complex).128

Step 3. Identification of Inter-Moment Unities/Continuities

• Identification of associated pitch and rhythmic material and processes of inter-moment development and/or stratification of associated material; • Identification of transitions of parameters across moment borders; • Identification of inter-moment harmonic continuities; and • Identification of inter-moment formal contours and coexisting formal strata at the midlevel and global level.

128 Pseudocode is a distinctive descriptive register that, like a cooking recipe, is ordered checklist of programming instructions. In contemporary computer science literature, pseudocode provides a way to express computational procedures in a manner that remains agnostic to the interpreter’s fluency in any programming language. As Eamonn Bell notes, ‘pseudocode texts are indeed computational scripts, but they are, first and foremost, intended for humans,’ in The Computation Attitude in Music Theory, (Ph.D., Columbia University, 2019), 3. Throughout the analyses presented in section 3.3 and chapters 4,5 and 6, both prose and pseudocode will be employed to describe algorithmic processes. 33

Step 4. Formal Interpretation

The composition’s unique interactions of parameters and strata are assessed according to the presence of compositional coherence (engendered by unity and continuity) and compositional momentum (engendered by disunity and discontinuity). Unity promotes compositional coherence by integrating content through similarity, continuity of process, and affirmation of closure. Compositional coherence engendered through unity is assessed according to the presence of:

• A high degree of similarity between material; • Progressive development of material; • Global formal contours and coexisting strata; and • Processes affirming global closure. Disunity promotes compositional momentum by disintegrating content through juxtaposition of material, discontinuity of process, and endlessness. Compositional momentum engendered through disunity is assessed according to:

• A high degree of juxtaposition between material; • The expansion, contraction or textural recasting of material (as opposed to its progressive development); • A lack of formal contours - formal components are flat and arbitrarily arranged; and • Incompletion of contextually established processes at both local and global levels. Formal interpretations of the composition are generated based on the assessment of compositional coherence and momentum as reciprocals operative on a continuum, in addition to considerations of the agency of listener perception.

Now that the conditions of flexible moment form have been defined and an associated analytic methodology formalised, this dissertation will return to the specific examination of Donatoni’s late solo works. Prior to engaging in such analysis, the following chapter shall contextualise Donatoni’s late style by examining the composer’s stylistic evolution.

34

3. Franco Donatoni: Stylistic Evolution and Current Approaches to Analysis

3.1 Stylistic Evolution

Student Compositions

Donatoni’s composition study began at the Martini Conservatory in Bologna in 1945, followed by further studies from 1952 with Goffredo Petrassi (1904—2003) at Accademia di St. Cecilia in Venice. Nascent composition’s such as the Concerto for Bassoon and Orchestra (1952) evidence the composer’s interest in the tonal and metric characteristics of the music of Béla Bartók,129 whilst also emulating Petrassi’s neoclassical approach to form and style. Petrassi’s influence upon Donatoni as an educator would also inspire his own teaching career.130 Several notable composers of today are former students of Donatoni, including Gerard Brophy, Magnus Lindberg,131 Fausto Romitelli, and Esa-Pekka Salonen.

Donatoni’s introduction to the post-war European avant-garde came when Bruno Maderna encouraged Donatoni to embrace post-tonal German influences. This led to Donatoni attending the 1954 Darmstadt summer school. The Darmstadt experience would lead Donatoni to embrace various philosophical and stylistic influences in what Ford describes as a ‘chameleon-like’ manner. Donatoni himself would remark that ‘Darmstadt was a big influence on me: my Tre improvizationi, performed at Darmstadt in 1958, was a bad copy of Boulez’s second piano sonata. But it was a very stimulating time.’132 In the works of this early era, Yotam Haber highlights Donatoni’s use of the ‘pre-constituted embryonic cell that could guarantee its auto-sufficiency.133 The auto-sufficiency of these cells would influence the generation and transformation of musical material at the microlevel. In turn, these transformations would directly impact the unfolding of events at a macro-structural level. Gorodecki describes these works as exhibiting a ‘finely wrought technique and mastery of the craft of composition,

129 Michael Gorodecki and Franco Donatoni, ‘Who’s Pulling the Strings? Michael Gorodecki Introduces the Music of Franco Donatoni’, The Musical Times 134 no. 1803 (1993): 246. 130 Bradley D. Decker, ‘Preserving the Fragment: Techniques and Traits of Franco Donatoni’s Joyous Period (1977 to 2000)’ (D.MA, University of Illinois, 2006), 5. 131 Lindberg’s Souvenir (2010), composed for the New York Philharmonic, is dedicated to his former teachers Donatoni and Gérard Grisey. The work’s title is a salute to Donatoni’s 1967 orchestral work of the same name 132 Ford, ‘A man without imagination,’ 117. 133 Yotam Haber, ‘Aleatory and Serialism in Two Early Works of Franco Donatoni’ (D.MA, Cornell University, 2004), 6. 35

particularly in their fastidiousness of structure, both on the small and large scale,’134 which evidences the interconnectedness of strata characteristic of Donatoni’s early integral style.

The Early Style

During the 1960s, Donatoni embarked upon on a ‘self-destructive path’135 upon which he channelled the negation of subjectivity—found in the Darmstadt school ideals of algorithmic order and logic—into the seemingly conflicting ideals and aesthetic of John Cage’s aleatorism. According to Haber, ‘Cage’s affirmative liberation of pitches from the Second Viennese School of serialism became a suffocating silence in Donatoni’s hands.’136 This is echoed by Gorodecki’s claim that ‘to uphold the musical structure within the context of Cage’s legacy meant an ever- greater self-effacement, a relinquishing of the subjective involvement of the artist with his objective work.’137 Subjective decision-making on the part of the composer was referred to by Haber as ‘a planned total loss of control.’138 In terms of compositional technique, this ‘self- effacement’ culminated in a style that Haber terms ‘hyperdetermininism.’139

Donatoni’s hyperdeterministic pieces were activated by a series of automatic algorithmic processes referred to by the composer as ‘codes.’140 At this point in Donatoni’s career, codes were enacted upon externally sourced musical objects, such as a Stockhausen fragment in the ensemble work Souvenir (1967), or a Busotti fragment in the string orchestra work, Solo (1969). In Donatoni’s Etwas ruhiger im Audsruck (1967), scored for Schoenberg’s Pierrot Lunaire instrumentation, the opening nineteen pitches of the second of Schoenberg’s Fünf Klavierstucke, Op. 23 are utilised as the musical fragment. This fragment is transformed across the work using serial procedures: ‘I took that little fragment of Schoenberg and make it proliferate, like in Boulez’s music. This involved many different techniques – from proliferation, through selection, cutting up the music, new selections, proliferations of those sections, and so on.’141 Yotam Haber’s analysis of this work tracks the journey of codes as they render the source material unrecognisable, which is achieved through a series of panels that vary the material in

134 Gorodecki, ‘Who’s Pulling the Strings?’, 247. 135 Gorodecki, 247 136 Haber, ‘Aleatory and Serialism,’ 106. 137 Gorodecki, 247. 138 Gorodecki, 247. 139 Haber, 10. 140 Franco Donatoni, ‘Questionnaire on Complexity in Music,’ in Complexity in Music? An Inquiry into its Nature, Motivation, and Performability, ed. Joël Bons (Rotterdam: Rotterdam Arts Council, 1990.) 141 Ford, ‘A man without imagination,’ 118. 36

a concatenated manner until its eventual resurfacing at the end of the work.142 This journey is illustrated by Bradley Decker’s description of Donatoni’s hyperdeterministic processes as ‘the degeneration of the material as much as possible, but resuscitation just before it expires.’143 In Etwas ruhiger im Audsruck, Gorodecki finds difficulty in aurally discriminating both process and structure: ‘the intervals so mutated (or mutilated!) that they lose their value as intervals, the musical figures changing so frequently or layered so much as to block each other out. All sense of identity has been eradicated.’144

In his comparison of aleatoric processes in Donatoni’s Per Orchestra (1960) and serial processes in Etwas ruhiger im Audsruck, Haber notes each work’s differing approaches to panel construction. Whereas the panels of Etwas are constructed from concatenated variations on the Schoenberg fragment, the panels in Per Orchestra comprise aleatoric rhythmic or harmonic content, or a set of actions such as number and counting games. As a result, despite each style’s differing approaches to form, Haber perceives the same aural outcome:

The open forms, graphic symbols, and freedom granted to the players of Per Orchestra have been abandoned by Etwas, yet the two sound remarkably similar. Although Etwas has a clear structure delineated by different sections and sound density, the lack of expression, drama, or events makes the piece sound aimless and static.145 Gorodecki is similarly critical of formal processes in the hyperdeterministic works: ‘every burst of material had produced a new gesture. But although each may have been locked into a logical network, it was one which could not be recognised aurally.’146 Haber and Gorodecki are united in their observation that the techniques of aleatorism and hyperdeterminism, when utilised to their fullest extent, have the potential to implode into a constant stasis. This resembles the effect observed by Kramer in the extreme application of pure moment form conditions. Thus, each compositional approach risks a constant stasis emerging from consistent discontinuity, regardless of whether the discontinuities are controlled by determinate or indeterminate procedures. Donatoni would identify this problem himself, describing his orchestral work To Earle Two (1972) as ‘chaos, […] the forms became swallowed by chaos, by a conscious chaos

142 Both Michael Barkl’s* and Haber’s analyses of the work finds that the strict algorithmic codes ultimately fail to produce this outcome without the subjective ‘tweaking’ of the code by the composer. See Haber, ‘Aleatory and Serialism’ and Michael Barkl, ‘Franco Donatoni’s Etwas Ruhiger Im Ausdruck’ (M.MA, University of New England, 1985). 143 Decker, ‘Techniques and Traits of Franco Donatoni’s Joyous Period,’ 29. 144 Gorodecki, ‘Who’s Pulling the Strings?’, 247. 145 Haber, ‘Aleatory and Serialism,’ 107 146 Gorodecki, 248. 37

that operated according to automatisms.’147 According to Gorodecki, Donatoni works of the early 1970s saw the composer ‘suffocating on his own creative energies.’148

The Late Style

After a three-year creative hiatus, the chamber ensemble work Ash (1976) would see a significant shift in Donatoni’s style fuelled by renewed subjectivity and a freer attitude towards codes. Ford interprets the work as ‘a phoenix rising from the ashes,’149 and Decker similarly describes it as a ‘renaissance of sorts.’150 While Donatoni’s earlier style involved ‘self-effacement,’ this late style entails what Gorodecki describes as a ‘reconciliation with the intuitive part of his brain’151 In terms of processes and form, Decker identifies in Ash a ‘controlled contrapuntal texture of solo lines’ comprised of ‘layers and preservation of material.’152 Ford similarly observes a perceptible linearity: ‘there is a very clear sense of the progression of ideas. Listeners can quite easily follow how a musical figure changes, develops, accrues new features and discards old ones.’153 Donatoni himself describes his approach as ‘a music more determined by the linearisation of codes rich in diverse and variegated articulations.’154 Commenting on the ensemble work Spiri (1977), Gorodecki observes the workings of objective processes at the microlevel, balanced by a subjective control of the macro structure:

[…] the automatic procedures, the ‘codes,’ ceased being dry and desiccating mechanisms. They became connected instead with precise, intuitively derived musical images. […] Quickly he accumulated a vast technique of microstructural control which would give rise to an overall freedom […]155 Gorodecki’s ‘precise images’ point toward Donatoni’s continued employment of panel construction methods. Although the building blocks of the technique remain unchanged, the subjective methods of their construction and organisation resulted in a significant recalibration of Donatoni’s approach to compositional form.

In the early style, the ideal of objectivity had compelled the composer to use codes as a means of curbing subjective actions across all formal levels. Accordingly, the autonomous processes defined the form, or as Decker remarks ‘the goal of the work is the same as the goal of the

147 Franco Donatoni, Il Sigaro di Armando: Scritto 1964-1982, ed. Piero Santi, (Milan: Spirali Edizioni, 1982), 10- 11, quoted in Haber, ‘Aleatory and Serialism,’ 104. 148 Gorodecki, ‘Who’s Pulling the Strings?’, 248. 149 Ford, ‘A man without imagination,’ 119. 150 Decker, ‘Techniques and Traits of Franco Donatoni’s Joyous Period,’ 8 151 Gorodecki, 250. 152 Decker, 8. 153 Ford, 119. 154 Gorodecki, 248. 155 Gorodecki, 248. 38

code.’156 This is evidenced in Etwas ruhiger im Audsruck, where the goal of breaking down and restoring the Schoenberg fragment determined form at both the micro and macro levels. Conversely, the late style the codes become the servant of the composer’s subjectively conceived formal design. Accordingly, ‘[t]he goal of the work is the goal itself.’157 This would not mean, however, a rejection of codes. As Donatoni explains, autonomous functions at the microlevel cumulatively reflect subjective choices at the macrolevel:

One could say that a principle of indeterminacy operates in the microform. The principle renders the modifications unpredictable in detail, but predictable statistically. In fact, I know that the microform follows a fixed pattern in its evolution. It has a determined way of occurring. That is to say, statistically I know more or less the directions it will take but I do not know where or in what moment. All this establishes a broader, more global principle of determinacy that is reflected in the macroform.158 Global form in Donatoni’s late style is thus more than just an arbitrary consequence of the microlevel autonomous processes. Rather, it is a rich network of interactions across all levels of strata, conceived in a compositionally subjective manner.

For Gorodecki and Decker, the late style finds its model in the music of Bartók. Both analysts cite a 1981 article in which Donatoni acknowledges specific techniques and approaches he identifies in Bartók’s fourth string quartet:

1) Cellular exposition and organism growth; 2) growth without development, conservation of fragment; 3) juxtaposition of organisms; mutation not evolution; and 4) stasis of pulsations, continuity of tone, ‘night’ atmospheres, noises, murmurings, vibrations like moving timbres in an immobile space.159 These ideals outlined share much in common with the guiding principles of moment form outlined in Chapter 2. The value ascribed to the autonomous internal characteristics of the moment finds a parallel in ‘continuity of tone’ and ‘conservation of fragment.’ The value concerning the non-coercion of material in moment form is reflected in notion of ‘growth without development.’ Accordingly, moment form’s processes of development through expansion, contraction, and textural recasting finds comparability with development through ‘mutation not evolution.’ The arbitrary succession of moments finds representation in ‘juxtaposition of organisms,’ and the moment form ideal of endlessness finds resonance in the notion of ‘atmospheres’ and ‘immobile spaces.’

156 Decker, ‘Techniques and Traits of Franco Donatoni’s Joyous Period,’ 83. 157 Decker, 83. 158 Restagno, ‘Un’autobiografia,’ Donatoni, 34. 159 Donatoni, Il Sigaro di Armando, quoted in Gorodecki, ‘Who’s Pulling the Strings?’, 248, quoted in Decker, ‘Techniques and Traits of Franco Donatoni’s Joyous Period,’ 2. 39

Inspired by Bartók, Donatoni’s late style retains the panel construction technique of the earlier style yet recalibrates it to suit his own subjective ideals. Thus, the connections established between the Bartókian approach to form and the principles and values of moment form validates this dissertation’s analysis of Donatoni’s late solo works through the lens of flexible moment form.

3.2 Current Approaches to Analysis

This section critically examines current analytic approaches to Donatoni’s late style arising from scholarship emergent since the late 1990s by Decker, Dell, Gorodecki, and most recently, Edoardo Carpenedo. It is argued that current methodologies employed by these analysts are largely undifferentiated from those employed in the analysis of the composer’s earlier hyperdeterministic works. Current approaches continue to prioritise the investigation of determinate microlevel processes. Further, these microlevel findings remain disconnected from midlevel and global formal observations as no current analytic framework exists that is able to adequately organise and describe the network of interactions across all levels of strata exhibited by Donatoni’s late style.

Decker primarily analyses microlevel processes in Donatoni’s work by categorising codes as either panel or filter processes. These processes are enacted upon contextually established musical objects, labelled ‘strands.’ Panels are static and involve the preservation of musical elements derived from strands (such as pitch-class sets, interval series, and rhythm), over a period of time resulting in relative stability.160 Conversely, filters involve motion by changing musical elements derived from strands through both reduction and revelation, or any other processes of transformation.161 Decker further distinguishes several types of panel and filter codes according to their musical characteristics or behaviour. These categorisations include: formal panels (sections taken from a fully realised and developed strand, assembled with other formal panels using material from other strands according to a formal plan); pitch panels (a select group of register-specific pitch classes); interval aggregate panels (the assembly of gestures by combining intervals rather than pitch classes); interval filters (the gradual change of interval and pitch selection); and gestural filters (the reduction of phrases by removing or reinstating material).162

160 Decker, 31. 161 Decker, 49. 162 Decker, 31-56. 40

In her analysis of Incisi (1995), Niamh Dell employs Decker’s analytic strategy of segmenting the work according to formal panels, and employing filter terminology to describe the addition and subtraction of musical material. 163 Dell’s analysis differs from Decker’s in that she employs serial terminology to describe processes involving pitch and interval transformation. Similarly, Sean Fredenburg adopts serial terminology in his analysis of tone row manipulation and combinations of vertical sonorities in the saxophone quartet Rasch (1990). 164

In his analyses of Omar (1985) and Lem (1982), Decker examines Donatoni’s panels and filters against the rubric of principles identified in Bartók ’s music. 165 Decker finds the ‘juxtaposition of organisms’ in the positioning of formal panels of texturally and thematically contrasting material, the rearrangement of which allows new contexts and contrasts to occur. The use of unchanging pitch sets achieves a ‘continuity of tone.’ ‘Growth without development’ is achieved through the application of both subtractive and additive filtering processes which remove or restore panel material respectively. Although Decker observes that panels and filters exist across multiple formal levels, ‘from large formal sections on the macrolevel, to smaller strands of material on the microlevel,’166 his analyses of Omar and Lem concentrate exclusively on their implementation at the microlevel.

Dell also situates her analysis of Incisi according to the Bartók principles and similarly concentrates her analyses at the microlevel. In a systematic panel-by-panel analysis, Dell deconstructs microlevel coding revealing Donatoni’s continued employment of serial techniques. From these microlevel findings, Dell observes midlevel formal structures she terms generational filter sequences.167 These sequences consist of consecutive formal panels that are linked through the concatenated filtering of thematically related material. Dell describes the technique as ‘a section created by a large filter process [that is subsequently] treated as a formal panel and subject to filter processes itself, many times over.’168 Dell uses the term ‘generation’ to describe the lineage of the filter process.

In his brief analysis of Nidi (1979), Gorodecki’s observations of microlevel processes may also be linked to the Bartók principles, though he does not explicitly establish his analysis as such.

163 Niamh Dell, ‘Analysing the Use of Panels and Filters in Franco Donatoni’s Incisi: 2 Pezzi per Oboe’ (M.MA, International Ensemble Modern Akademie, 2018), 2. 164 Sean Fredenburg, ‘A Theoretical and Performance Analysis of Two Works for Saxophone Quartet: XAƧ by Iannis Xenakis and Rasch by Franco Donatoni (D.MA, University of Oregon, 2013), 1. 165 Decker, ‘Techniques and Traits of Franco Donatoni’s Joyous Period,’, 10. 166 Decker, 32. 167 Dell, 15. 168 Dell, 15. 41

In Nidi, Gorodecki identifies ‘the general principle of rilettura whereby the previous section of music is reread or varied either through new articulation, a new element added, an existing element taken away, or multiplied,’169 akin to the filtering process identified by Decker as achieving ‘growth without development.’ The ‘manipulation of duration through a mixture of symmetry and asymmetry’170 may each be linked to the trait of ‘mutation, not evolution.’ Additionally, Gorodecki’s observation of ‘the progressive ‘filling in’ of space with sound’ may be linked to ‘conversation of fragment’ while the use of ‘grace notes which deflect a sense of pulse, regularity and accent’ may be linked to ‘noises, murmurings, vibrations like timbres in an immobile space.’171

Similar to Dell, Edoardo Carpenedo’s analysis of the first and second sets of Donatoni’s Francoise Variationen prioritises the decoding of the work’s concatenated microlevel processes.172 Unlike Dell’s prose description of Donatoni’s processes, Carpenedo uses rigorous pseudocode to describe the composer’s algorithmic processes. Carpenedo makes global level observations concerning formal arcs in individual parameters such as tempo, texture, and dynamics. However, these findings remain discrete, are not integrated into a comprehensive, formal interpretation, and do not engage with the various formal strata that emerge across each set of variations.

From this assessment of the analyses of Donatoni’s late works offered by Decker, Gorodecki, Dell and Carpenedo, it is apparent that current analytical methods—including panel and filter, serial, and algorithmic—prioritise above all else the investigation of microlevel processes. The midlevel and global findings that do emerge from these analyses are few and far between, as no analytic framework currently exists that accounts for the network of interactions across all levels of strata. These current analytical approaches to Donatoni’s late works are largely indistinguishable from the approach employed by Haber in his analysis of the composer’s earlier hyperdeterministic works. In Donatoni’s earlier works, where the objective processes of the microlevel would saturate all levels of structure and determine all aspects of form, an interpretation of form based on microlevel findings would be adequate. However, the decoding of the microlevel processes in Donatoni’s late works reveals only one aspect of the formal design. In order to comprehend the complex, subjective interactions of parameters and temporal strata

169 Gorodecki, ‘Who’s Pulling the Strings?’, 249. 170 Gorodecki, 249. 171 Gorodecki, 249. 172 Edoardo Carpenedo, ‘Endless Transformation in the Françoise Variationen’ (D.MA, Boston University, 2019) 42

exhibited in the late works, a wide-lens, inclusive approach is required. Flexible moment form offers a holistic solution to this analytical challenge.

3.3 Case Study: Interpreting Flexible Moment Form in Incisi, Movement I

Dell’s 2018 analysis of Incisi; 2 Pezzi per Oboe is representative of current analytical approaches to Donatoni’s late works in its sophisticated decoding of formalist microlevel processes through both panel and filter, and serial analytical strategies. The analysis is also indicative of current approaches in that non-formalist elements (such as the composer’s employment of nondeterminate algorithms) remain unaccounted for, and that midlevel and global observations are not encompassed by a comprehensive formal interpretation of the work. The following analysis sees both Dell’s findings and new formal discoveries elevated within the holistic formal framework of the flexible moment form strategy. The objective is to arrive at a comprehensive formal interpretation that embraces the movement’s formalist and non- formalist elements, and accounts for the interactions of all parameters and temporal strata. This case study also functions to introduce new analytical terminology and processes specific to the flexible moment form methodology that will be utilised in its extended application across the subsequent chapters.

The following sections present new, original analysis utilising the flexible moment form methodology. Throughout the discussion, the findings of Dell are compared and reworked according to the strategy.173

Identification of Materials and Moments

The musical surface of the first movement of Incisi is structured by juxtapositions resulting from textural variations (or what is henceforth termed ‘parametric behaviours’) arising within the following parameters:

Juxtaposing pitch contours:174

• Stepwise sinewave-shaped contours of durationally wide (4-6 quavers) contours with wide pitch peaks (2 octaves or more);

173 References shall be included throughout the analyses where the findings belong to Dell and are not original to this dissertation. 174 This nomenclature for describing pitch contours is derived by the author and specific to this dissertation. These descriptions are not intended to refer outside this study. 43

• Stepwise sinewaves of durationally wide rising contours with medium pitch peaks (approximately 1.5 octaves or less);

• Jagged (un-ordered rising and falling intervals), durationally narrow (less than a quaver) contours with medium pitch peaks;

• Jagged (un-ordered rising and falling intervals), durationally pointillistic;

• Durationally narrow, jagged clusters of pitches (a minor third or less);

• Scalic (minor or major second intervals), durationally wide contours;

• Hybrids of the above contour types.

Juxtaposing dynamic contours:

• Panels of crescendo/decrescendo movement;

• Panels of stepwise, terraced rise or fall in dynamic;

• Sections of block dynamic (generally either forte or piano).

Juxtaposing articulation types:

• Sections of both slurred and staccato articulations;

• Sections of block slurred or staccato articulations.

Juxtaposing rhythmic structures:

• Durationally-wide panels of continuous demisemiquavers separated by rests;

• Pointillistic sections comprising demisemiquavers, separated by rests;

• Durationally-wide panels of irregular rhythmic movement comprised of 3 or more rhythmic types (i.e. quaver, semiquaver, dotted-semiquaver, etc.)

Across the movement, there are identifiable sections wherein different combinations of these parametric behaviours remain constant. Given the textural juxtapositions that emerge from these sections, the movement is segmented into 24 moments (see figure 3.1). This movement typically sees moment borders determined by behavioural changes in two or more parameters. 44

Key for Figure 3.1 (overleaf) Pitch Contour Type (line 2): 1. Stepwise sinewaves of durationally wide (4-6 quavers) contours with wide pitch peaks (2 octaves or more); 2. Stepwise sinewaves of durationally wide rising contours with medium pitch peaks (approximately 1.5 octaves or less); 3. Jagged (un-ordered rising and falling intervals), durationally narrow (less than a quaver) contours with medium pitch peaks; 4. Durationally narrow, jagged clusters of pitches (a minor third or less); 5. Scalic (minor or major second intervals), durationally wide contours; 6. Jagged (un-ordered rising and falling intervals), pointillistic presentation.

Articulation Type (line 7): 1. Legato and staccato; 2. Legato only; 3. Staccato only.

Moment Border Transitions (line 9):

S = Soft

H = Hard

45

Figure 3.10: Parametric behaviours across, Incisi, movement I. See key on previous page. An enlarged version of this figure is included in Appendix 1. 46

Identification of Intra-moment Characteristics and Processes

In contrast to Dell’s segmentation of the movement, which hinges on groupings of locally proximate panels of material related through either serial or filter processes, the flexible moment form strategy segments the movement by prioritising perceptible consistencies in surface texture. By shifting the focus towards such consistencies, this strategy reveals a significant finding concerning Donatoni’s construction of moments: consistency in intra- moment texture and form is frequently achieved through the localised presentation of multiple types of thematically un-related material (i.e. material of different pitch or intervallic structure), subject to multiple processes. This is evidenced in moment 1 (2.1-2.3)175 where two different ordered interval panels are subject to different processes of transposition, retrograde, inversion, and interval class substitution (see figure 3.2).176 Across the differing thematic material, and the processes enacted upon it, Donatoni achieves a unified texture by maintaining consistent pitch range, as well as consistent articulation and dynamic schemes, across each rising and falling contour.

Figure 3.2: Serial transformation across moment 1 of Incisi, movement I. Interval class substitution circled.

Whereas moment 1 achieves intra-moment consistency through textural similarity, moment 2 (2.4-2.7) achieves intra-moment consistency through its internal form. In this moment, a localised ternary structure stabilises sub-moment textural juxtaposition of two different types of material. As shown in figure 3.3, two iterations of an ordered interval panel, comprised of a cluster of staccato, pianissimo demisemiquavers, are subject to their own processes of transposition and retrograde.177 These clusters bookend three registrally fixed panels of a forte

175 (2.1-2.3) refers to the location of the moment within the score, according to page and line number. As Donatoni does not use bar lines, this will be the method for identifying locations within the music across the analyses presented in this dissertation. 176 While Dell observes the determinate serial processes of transposition, retrograde, and inversion, the nondeterminate process of interval class substitution is not recognised. 177 While Dell recognises the microlevel coding of this section the localised ternary structure is original to this analysis. 47

jagged rising gesture constructed by a code which results in subsequent statements beginning a major second above the last note of the previous panel. The localised ternary structure stabilises the sub-moment material to form a single moment. Furthermore, the borders of moment 2 are reinforced by significant contextual juxtaposition, resultant from the narrow pitch range of the staccato cluster material contrasting with the sinewave-shaped material of the adjacent moments.

Figure 3.3: Localised ternary structure in moment 2 of Incisi, movement I.

Most intra-moment processes concerning the generation and transformation of intervallic and rhythmic material can be ascertained by cross-referencing this dissertation’s moment segmentation (outlined in figure 3.1) with Dell’s detailed panel-by-panel analysis of serial and filter processes. There are, however, some intra-moment processes unobserved by Dell. Moments 3,5,9,17, and 18, for instance, involve intra-moment contraction of pitch range while moments 4, 19, and 23 involve intra-moment descent in register (see 3.1).

Identification of Inter-Moment Unities/Continuities

Continuity Through a Co-Exiting Binary Stratum

Dell’s observation of a ‘formal reconstruction’ of panels from 7.1 onwards,178 is recognised by the flexible moment form strategy as a coexisting binary formal stratum. As outlined in figure 3.1, the reconstruction of moments in the recapitulation remains consistent until moment 22, after which some original moments are subject to exclusion. This varied, ordered recapitulation of material and codes thus results in an A-A1 binary form.

178 Dell, ‘Analysing the Use of Panels and Filters in Franco Donatoni’s Incisi’, 25. 48

Continuity Through Consecutive, Linear Development of Material

Across 2.7-3.12 (what is identified in this dissertation’s analysis as moments 3-5), Dell identifies a midlevel structure that takes the form of a generational filter process. Within this process, the panel extending from 2.7-3.1 (moment 3) is subject to a first-generation filtering across 3.1-3.5 (moment 4), and a further second-generation filtering across 3.5-3.12 (moment 5). In accordance with flexible moment from strategy, this process is termed concatenated variation, and the consecutive variation of material produces a midlevel structure that is labelled an episode. Given Dell’s focus on recognising only formalist, algorithmically determinate codes, the episode of concatenated variation observed across moments 3-5 is not recognised in the corresponding section of the binary stratum’s recapitulation (moments 17-19). Given the non- formalist approach embraced by this dissertation’s flexible moment form strategy, a second episode of concatenated variation is recognised across this section. The transformation of material across moments 17-18 is the result of the following nondeterminate algorithm, expressed here through pseudocode. Figure 3.4 evidences the moment 18 first phrase the results from this transformation.

1. Take moment 17 as the parent material. Transpose the material down approximately a tone and retain only the highest and lowest notes of each pitch contour.

2. Extend the rhythmic value of the remaining pitches to correspond approximately with their duration spacing in moment 17 (include rests in this calculation).

3. Insert a grace note approaching approximately each second pitch by a major seventh.

Figure 3.4: Extracts of moment 17 (a) and moment 18 (b) illustrating nondeterminate algorithmic processing in Incisi, movement I.

The presence of the following nondeterminate variables means that the process of variation is not of the same high degree of determinacy as evidenced across moments 3-5: 49

• Approximation of duration spacing: the value allocated to the pitch C6 (five demisemiquavers) at the end of 8.2, for instance, does not correspond exactly with the duration space (seven demisemiquavers) at the corresponding point in moment 17 (end of 7.7).

• Approximation of transposition: the F#4, A5, and G#4 of 8.3 remain un-transposed, while the F#5 at the conclusion of 8.4 is transposed down a major third, rather than a tone.

• Grace note placement: this becomes increasingly approximate and is especially apparent from 8.4 onwards (the B5 grace note here is randomly transformed to represent what should be a fixed rhythm).

Continuing the process of concatenated variation, moment 19 can be understood as an algorithmic transformation of moment 18 material. As shown in figure 3.5, the material of moment 19 is subject to the removal of the grace notes as well as processes of transposition and duration space preservation that are similarly approximate due to the presence of nondeterminate variables.

Figure 3.5: Extracts of moment 18 (a) and moment 19 (b) illustrating nondeterminate algorithmic processing in Incisi, movement I.

As illustrated by figure 3.6, the following nondeterminate algorithm connects the material of moments 8 and 9.

1. Take moment 8 as the parent material. Subject the material to its R0 transformation.

2. Select one or two of the lowest and highest notes of each contour. This becomes the transformed material. 50

3. Continue extending the transformed material by repeating steps 1 and 2. This will mean that the parent material alternates between its retrograde and prime forms on each run. Exclude those pitches already subject to transformation on most runs.

4. Inserts rests between each pitch: rests commence at a duration of 2 demisemiquavers, increasing by one additional demisemiquaver with each new stave. The spacing of duration is aligned exactly with 4.9. Rests are spelt according to beams of 4 demisemiquavers.

Figure 3.6: Extract of moment 8 (a) used as parent material for algorithmic processing resulting in moment 9 (b) in Incisi, movement I.

Again, the presence of nondeterminate variables suggests that several results are possible. In this algorithm, the nondeterminate variables include:

• The selection of one ‘or’ two notes on each run; and

• The condition ‘on most runs’, means that sometimes pitches that have already been transformed may be employed on subsequent runs.

Continuity Through Global Pitch Range Contours

As illustrated in figure 3.7, two global formal arcs emerge as the result of the inter-moment contraction and expansion of pitch range. Removing outliers (moment 8 and 9), the first of 51

these arcs occurs across moments 1-11. Moment 11 evidences the widest pitch range of the movement (a span of two octaves and a minor seventh). With an approximate degree of symmetry, a further arc emerges across moments 11-23.

Figure 3.7: Graphical representation of pitch range across Incisi, movement I.

Continuity Through Pitch Assertion

Two contrasting pitch centres emerge across the work, the first of which is established at the outset of the movement. Across moment 1, the registrally unrestricted pitch classes F and F# are asserted as the highest and lowest notes of each sinewave-shaped pitch contour (see figure 3.2). The assertion of these pitch classes momentarily continues through to moment 2 yet fades from 2.5 onwards. Moment 14 and 15 sees the assertion of the pitch classes continue as highest and lowest notes of each pitch contour. Consistent with the movement’s binary stratum, the fade of this pitch class assertion—as demonstrated in moment 2—also occurs in moment 16.

Juxtaposing the F/F# assertion is the registrally-fixed assertion of the pitch A4. The determinate algorithmic process of moment 5 results in a contraction of pitch range until the pitch of A4 is achieved (see figure 3.7a). The pitch continues to be asserted in moment 6 as the first and last notes of each pitch contour (see figure 3.7c). Each panel of moment 7 and 8 circles back to the pitch. With each iteration it receives further assertion through duration (the iteration of the pitch at 4.5, a dotted crotchet tied to a demisemiquaver, is the longest rhythmic value of the work, see figure 3.7c), and marcato accentuation (see figure 3.7d). The pitch assertion fades from its appearance as the first note of moment 9. It is not until moment 16 where the pitch is recurs as the lowest note of each pitch contour, further highlighted by its dotted-quaver rhythmic value.

52

Figure 3.7: Extracts of moments 5 (a) illustrating pitch contraction towards the A4 pitch. Extracts of moment 6 (b), moment 7 (c and d) illustrate various procedures of A4 pitch assertion in Incisi, movement I.

Continuities in Dynamics and Articulation

An episode of dynamic continuity is observable across moments 8-14, whereby a continuous pattern of block dynamics alternate between forte and piano with each moment instantiation. A further episode can be seen across moments 19-22, in which a terraced rise in dynamic from piano to forte occurs across each moment instantiation. Continuity is further provided by two significant episodes of consistent legato articulation across moments 11-14 and moments 17-21 (see figure 3.1).

Continuity Through Border Transitions

Across the movement, there are four moment borders in which degrees of transition are made apparent. The borders of Moments 1 and 2 connect through a shared staccato articulation and decrescendo, and the borders of Moments 5 and 6 connect through the shared pitch of A4. The marcato articulation at the conclusion of moment 5 prepares the staccato articulation of moment 6. Moments 7 and 8 connect through the proximate appearance of a thematic motive comprised of 5 stepwise pitches descending to the pitch A4. The border of Moments 8 and 9 connect through the pitch A4, staccato articulation, and decrescendo. Significantly, border transitions occur only in the first third of the movement. From moment 10 onwards, borders exhibit a high degree of contrast in several parameters (see figure 3.1). 53

Continuity Through Stratification

Material similarities in moments 11 and 13 are stratified by the material similarities of moments 12 and 14. The hybrid sinewave/jagged pitch contour and forte dynamic of moment 11 (figure 3.8a) connects with the jagged pitch contour of moment 13 (3.8c). These moments are stratified by the rising scalic contours and piano dynamic of moment 12 (3.8b) and its subsequent iteration at a higher transposition in moment 14 (3.8d). The juxtaposing dynamic scheme of this section reinforces this process of stratification.

Figure 3.8: Extracts showing stratification of moment 11 (a) and moment 13 (c) with moment 12 (b) and moment 14 (d) in Incisi, movement I. Note the difference between the hybrid jagged/sinewave contour of 11, and the pure jagged contour of 13.

Flexible Moment Form in Incisi, Movement I

The first movement of Incisi is a network of continuous and discontinuous elements, operating non-hierarchically across multiple formal layers, and multiple temporal and parametric strata. This network operates according to reciprocal relations established between different levels of strata whereby automatic processes at the microlevel cumulatively reflect subjective choices, or the composer’s ‘musical image’ of the work, at the macrolevel. Specifically, this movement involves microlevel processes which produce midlevel continuities and discontinuities. These midlevel phenomena serve to maintain a non-hierarchical global relationship between coexisting moment form and binary formal strata. With the moment form stratum contributing momentum as the binary formal stratum contributes coherence, Donatoni achieves a balance 54

of forces. In doing so, the formal design of Incisi substantiates this dissertation’s claim that Donatoni’s late solo works exhibit a virtuosity of form.

At a global level, the non-hierarchical relationship between the coexisting moment form and binary stratum is achieved by a balance of parametric behaviours which either reinforce or mitigate each stratum. Providing a degree of implication and continuity, the strength of the binary stratum is asserted by the consistency of its ordered reconstruction of earlier events across moments 15-22. However, various procedures mitigate this influence, thus ensuring that the non-hierarchical relationship is maintained. As Dell observes, the panels in the reconstruction are subject to codes which alters their texture from their initial presentation:

Often, panels that were initially texturally dense are presented in this section in a more sparse form, and large intervals in panels are filtered to show a more close intervallic structure. Conversely, filters have been applied to some panel constructed from smaller intervals to display registral extremes, and less dense panels are altered to increase their note density.179 The degree of transformation between the original material and its corresponding appearance in the recapitulation often moves beyond the threshold of recognition, mitigating the surface perception of the binary design. Frequently, the material is texturally recast into what is perceived as a new form. An example of this occurs with the transformation of material in moment 2 into a new form in moment 16, according to the following nondeterminate180 algorithm:

1. Take the jagged rising contours moment 2 as the parent material. Take the first and last pitch of most quaver groups (if rests are present, choose the following pitch).

2. Discard other pitches yet maintain the exact duration space of the parent material by increasing the rhythmic value of remaining pitches.

3. Insert grace notes between most intervals greater than a minor ninth. The pitch of these grace notes sits inside the range of its adjacent pitches; it approaches its subsequent pitch by a major seventh.

With the pitch peaks of the original contours largely compromised by the algorithm (as indicated in figure 3.9), a distinctly new pitch contour results in moment 16. Despite the preservation of the duration spacing of the original material, the composer’s subjective

179 Dell, ‘Analysing the Use of Panels and Filters in Franco Donatoni’s Incisi’, 25. 180 This algorithm has a high degree of determinacy. However, Donatoni makes some subjective interventions necessitating its nondeterminate categorisation. Donatoni does not include every first and last pitch of each quaver group and does not insert a grace note between the major tenth interval that occurs at the end of 7.4. 55

exclusion of some notes from participating in the algorithm ensures a distinctly contrasting rhythmic character emerges. The algorithm’s addition of grace notes further disguises the rhythmic and harmonic profile of the original material.

Figure 3.9: Moment 2 (a) algorithmic processing resulting in textural recasting of material in moment 16 (b) in Incisi, movement I.

As illustrated in figure 3.10, the unstable rhythms and legato ascending contours of moment 12 are recast as descending, staccato, contours comprised of continuous demisemiquavers in moment 23.

Figure 3.10: Extract of moment 12 (a) algorithmic processing resulting in textural recasting of material in moment 23 (b) of Incisi, movement I.

Also mitigating the strength of the binary stratum are the differing degrees of determinacy informing the transformation of material across the two episodes of concatenated variation. Whereas determinate algorithms ensure a perceptible linear continuity across the first episode (moments 3-5), nondeterminate algorithms blur the degree of linear continuity across the second episode (moments 17-19) in the recapitulation.

Donatoni’s exclusion of the moments 7-9 and moment 11 in the recapitulation further diminishes the strength of the binary stratum. This exclusion disrupts any binary implications suggested by the linear continuities and symmetry offered by the stratum. Additionally, the 56

recapitulation’s exclusion of moment 14 (the section which closes the A section of the binary stratum) sees the movement ‘stop’ rather than ‘end’ in the manner implicated by the binary design. Thus, the moment form stratum’s value of endlessness is reinforced, and the non- hierarchical relationship of the formal strata is maintained.

Reinforcing the axis of the binary stratum is the equal positioning of several parametric episodes either side of the moment 14-15 border. As illustrated in figure 3.11, the equal positioning of both stable and unstable dynamic episodes on either side of the axis—as well as the approximate symmetrical positioning of two episodes of continuous legato articulation— reinforce the binary stratum’s axis.

Figure 3.11: Binary stratum axis reinforced by equal placement of dynamic and articulation episodes reinforcing binary in Incisi, movement I.

However, a rival formal axis articulated by the symmetry of global pitch range arcs functions to challenge the binary stratum’s axis. As figure 3.12 illustrates, this rival axis is strengthened by the equal placement of two static and processive episodes either side of moment 11, as well as the equal placement of episodes of F/F#, A4 and neutral harmonic centres. Furthermore, given the exclusion of moments 8, 9 and 11 in the recapitulation, this rival axis is situated at the true centre of the movement’s moment segments.

Figure 3.12: Pitch range axis reinforced by equal placement of static and processive episodes, and equal placement by harmonic episodes in Incisi, movement I.

While some parameters establish midlevel episodes of continuity that work toward reinforcing either of the two global axes, the consistent discontinuity provided by juxtaposing pitch contours maintains an important degree of surface momentum across the movement. This juxtaposition at the moment-level provides an essential contrast with midlevel and global 57

continuities, thus ensuring that the non-hierarchical relationship of temporal strata is maintained across the work. As figure 3.13 illustrates, the recurrence of associated pitch contours is calibrated to avoid local proximity, adhering to the moment form value of arbitrary succession. This technique was observed by Wheeldon in her analysis of Ondine. The imbricating arcs found in Wheeldon’s diagrammatic representation of Debussy’s spacing of material (reproduced in figure 2.1) are echoed in Donatoni’s distribution of juxtaposing contours in figure 3.13.

Figure 3.13: Juxtaposing pitch contour types in Incisi, movement I. Note the calculated periodicity especially of contour types 1 (green) and 3 (yellow).

Where the associated pitch contour are locally proximate, such as across moments 8 and 10, one moment remains static (in this instance, moment 8) while the other is subject to process (as moment 10 sees an expansion in pitch range). A similar technique is demonstrated in moments 19 and 20; two adjacent moments exhibiting a jagged cluster contour. A degree of juxtaposition is achieved by through a process of a descending register (in moment 19) contrasting with an expansion in range observable throughout moment 20.

In the first movement of Incisi, two rival axes and two coexisting formal strata coalesce as reciprocals within a structurally coherent polyvalent form. The friction of continuous and discontinuous forces in this movement results in an aural experience that shimmers with intensity. The application of flexible moment form strategy to this movement has resulted in an eruption of unexplored formal riches that move significantly beyond those ascertained by current analytical approaches which prioritise microlevel formalist processes. This application of flexible moment form theory has seen the introduction of new terminology and operations specific to describing and accounting for the dense network of interactions across microlevel, midlevel, and global strata. In addition, this analysis has accounted for processes of transformation through concatenated variation and algorithmic processes with varying degrees of determinacy. These aspects of the flexible moment form strategy shall be further explored in its extended methodological application across the following chapters. 58

4. Extended Methodological Application 1: Clair, Movement I

Clair for solo clarinet is a two-movement work composed by Donatoni in 1980. The composition’s two movements capture the dual personality of the instrument. Whereas the first movement pays homage to the instrument’s folk and military histories through its lunging glissandi and profusely ornamented raucous lines, the lacelike intricacies of the second movement verge on dissolving into nothingness. Despite their stark surface juxtapositions, the movements share much material in common. The fragile pitch clusters and fractured sinewave- shaped contours of the second movement are a distorted echo of the blistering sempre fortississimo pitch clusters and sinewave contours performed piú veloce possibile across the final section of the first movement.

The virtuosic character of Clair has seen the composition become a centrepiece in the repertoire for the clarinettist of today. In spite of its prominence to performers and listeners alike, no substantive analysis of the work currently exists.

4.1 Identification of Materials and Moments

The musical surface of the first movement of Clair is structured by juxtaposition resulting from textural variation within the following parameters:

Juxtaposing phrase construction:

• Moments that are monothematic and exhibit the reiteration of a single thematic idea; • Moments that are polythematic and exhibit the alternating presentation of two juxtaposing thematic ideas (or sub-moments) in a call-and-answer manner. This polythematic intra-moment juxtaposition is reinforced by contrasts in pitch contour, as well as contrasts in dynamic and articulation. Juxtaposing pitch contours:

• Moments exhibiting rising pitch contours of two octaves or more; • Moments exhibiting falling pitch contours of two octaves or more; • Moments exhibiting sinewave contours with pitch peaks of two octaves or more which may be monothematic or polythematic (i.e. the pitch and rhythmic content of the ascent may/may not be related to the pitch and rhythmic content of the descent); 59

• Moments exhibiting jagged (un-ordered rising and falling intervals), durationally narrow (values of a quaver or less), contours with small to medium pitch peaks (an octave or less). Juxtaposing harmonic centres:

• Moments asserting pitch class D; • Moments asserting interval class 1; • Moments that are hybrids of the above. Juxtaposing rhythmic structures:

• Moments exhibiting monothematic rhythmic construction (e.g. all demisemiquaver, or semiquaver movement); • Moments exhibiting phrases that are rhythmically juxtaposed, reinforcing polythematic phrase construction; • Moments exhibiting phrases comprised of multiple ordered juxtaposing rhythmic types (i.e. demisemiquaver, triple dotted quaver, semi quaver). • Moments comprised of a jagged rhythmic contour consisting of multiple unordered rhythmic types that are durationally narrow (a quaver or less); • Moments comprised of pointillistic rhythmic contours consisting of multiple unordered rhythmic types where the rhythmic values of pitches are less than the rhythmic value of rests. Juxtaposing dynamic schemes:

• Moments exhibiting static block dynamics; • Moments exhibiting phrases that juxtapose in dynamic scheme, reinforcing polythematic construction; • Moments of terraced increase or decrease in dynamic; • Moments of unstable, unordered dynamic movement. Juxtaposing articulation types:

• Moments exhibiting phrases that juxtapose in articulation, thus reinforcing polythematic construction; • Moments of block legato articulation; • Moments of multiple unordered, unstable articulation types. Juxtaposing pitch range: 60

• Moments exhibiting a narrow pitch range (one and a half octaves or less); • Moments exhibiting a wide pitch range (three octaves or more).

As illustrated in figure 4.1, the movement is segmented into eighteen moments wherein different combinations of these parametric behaviours remain constant. As shall be discussed in the section 4.4 which details the formal interpretation of the work, the moment borders of the first half of the movement are sharply defined by behavioural changes in three to four parameters, whereas moment borders in the second half are limited to behavioural changes in only two parameters. 61

Figure 4.1: Parametric behaviours across Clair, movement I. Note: adjacent moment juxtaposition is measured according to very low (VL), low (L), high (H), and very high (VH). An enlarged version of this figure is included in Appendix 1. 62

4.2 Identification of Intra-moment Characteristics and Processes

The following discussion details those characteristics and microlevel intra-moment processes that reinforce the autonomy of individual moments. Also considered in this section are the surface juxtapositions that articulate moment borders, thereby promoting the moment form segmentation of the structure.181

Moment 1 (2.1-2.2) is defined by the consistent pattern of rising pitch contours, each comprised of an ordered panel of pitches presented across three different rhythmic figurations. While the autonomy of the moment is defined by its consistency of material, a degree of intra-moment momentum is achieved through the application of two simultaneous processes. The first of these processes sees the pitch material (shown in figure 4.2) subject to a windowshift algorithmic code,182 that sees the static ordered panel of pitches progressively unveiled in a linear manner by exposing different parts of the panel with each phrase iteration. The deployment of this algorithm in this instance has a high degree of determinacy in that the margins of the window remain relatively constant; a new pitch is exposed at the end of each new phrase, while the first pitch of the previous phrase is hidden. Because of the rising contour of the static pitch panel, this windowshift process results in a terraced intra-moment ascent in pitch range with each phrase iteration (see figure 4.2).

Figure 4.2: Static pitch panel and phrase window margins in moment 1 of Clair, movement I.

Further intra-moment momentum is achieved with the static panel of pitches simultaneously subject to a second code. While the pitches retain their ordered presentation when presented

181 The analysis of processes that connect moments (both adjacent and nonadjacent) shall occur in section 4.3. 182 The labelling of the ‘windowshift algorithm’ is newly developed for this dissertation and is introduced here to describe a code frequently employed by Donatoni. The terms ‘window expansion’ and ‘window contraction’ shall be introduced later to describe related processes where the margins of the window that expose a static panel of musical material are inconsistent. 63

across demisemiquaver and triple-dotted quaver183 rhythmic figurations, further momentum is introduced with the random reordering of pitches when presented across the semiquaver/grace note figuration, as shown in figure 4.3. Comprised of demisemiquaver and triple-dotted quaver values only, the fourth phrase is the only one to present a completely ordered presentation of the pitch panel.

Figure 4.3: Nondeterminate variation in pitch order in the first (a), second (b) and third (c) phrases of moment 1 of Clair, movement I.

Moment 2 (2.2-2.4) contrasts with moment 1 in its polythematic construction whereby two juxtaposing thematic ideas are presented in a call and answer manner. The first thematic idea continues the semiquaver/grace note figuration of moment 1. Contrasting with its previous nondeterminate ordering of pitches in moment 1, moment 2 sees the figure subject to the determinate windowshift algorithm. As figure 4.4 illustrates, this code sees the progressive linear revelation of a static panel of pitches across six phrase iterations.

183 The triple dotted rhythmic motive recurs through the composition. For ease of identification throughout this analysis, the motive is labelled RM-A (‘Recurring Material A’). This format shall be used to label recurring material across the analyses presented in this dissertation. 64

Figure 4.4: Progressive revelation of static pitch panel in moment 2 of Clair, movement I.

Answering each iteration of the semiquaver/grace note phrases are fragments of rising and falling demisemiquaver contours, representing the introduction of intervallic material that shall recur extensively across the movement.184 As shown in figure 4.5, the second, third, fifth and sixth phrase iterations involve the serial transformation of intervallic material to form rising and falling contours.185 Further intra-moment consistency is established by a process of interlock that sees common first and last pitches connect the contours across their stratification with the demisemiquaver/grace note material. As evidenced in figure 4.5b, the common pitch of G3 connects the first, second, and third phrase iterations while the common pitch of F3 connects the fifth and sixth iterations.

Moment 3 (2.4-2.5) is characterised by two descending pitch contours where a nondeterminate application of a parallel spacing algorithm186 see an approximate parallel of duration space and parallel interval space. The stability provided by the code is mitigated by a high degree of ornamentation through mordents, trills, and grace notes that deflect the regularity of the pitch contour and contribute increased chromaticism, as evidenced in figure 4.6 (two pages ahead).

184 This recurring intervallic material is henceforth labelled RM-B. 185 Taking the materials most consistent presentation in moment 11 as the prime, figure 4.5 outlines the varied transpositions and transformations of this material across the movement. 186 The term ‘parallel spacing algorithm’ is newly developed for this dissertation and is introduced here to describe a code frequently employed by Donatoni. 65

Fig 4.5 RM-B transpositions and transformations across Clair, movement I. The moment 11 prime (a), is transformed to produce material in moment 2 (b), moment 10 (c), and moment 12 (d).

An intra-moment expansion of pitch range occurs across the continuous sinewave contour of moment 4 (2.5-3.2). Each ascending component of the contour comprises of a prime and its retrograde inversion. The harmonic stability of this scheme is mitigated by the nondeterminate application of mordents and accented demisemiquaver pitches that chromaticise the rising line. In contrasting demisemiquaver values, the descending section of the sinewave contours187 are the result of an inverse pitch collection algorithm188 that presents those pitches not apparent in the preceding rising contour, as shown in figure 4.6. Providing further intra-moment consistency, the sinewave contours are paralleled by increasing and decreasing dynamics.

187 Section 4.3 will show that the pitch material of these descending lines recurs as parent material for an episode of concatenated variation. It is henceforth labelled RM-C. 188 The term ‘inverse pitch collection algorithm’ is newly developed for this dissertation, and is introduced here to describe a code frequently employed by Donatoni. 66

Figure 4.6: Extract of moment 2 showing serial transformation and application of inverse pitch collection algorithm in Clair, movement I.

Juxtaposing with the continuous contour and dynamic waves of moment 4, the moment 5 (3.2- 3.4) border is articulated by a static pianissimo dynamic and the fragmentation of its descending chromatic contours according to a determinate parallel spacing algorithm (as show in figure 4.7). These contours expand in pitch range with each iteration.

Figure 4.7: Extract of moment 5 illustrating fragmented descending chromatic contour resulting from the parallel spacing of pitch and rhythm in Clair, movement I.

In moment 6 (3.4-3.6), a determinate parallel spacing algorithm gives rise to rhythmically and intervalically unstable descending contours. Providing a degree of harmonic stability, these contours are connected by chains of rising demisemiquaver major seventh intervals. As demonstrated in figure 4.8, the asymmetrical phrase lengths of the juxtaposing material are emphasised by a decrease in dynamic across the descending contours, and an increase in dynamic across the major seventh chains.

67

Figure 4.8: Extract of moment 6 illustrating contours resultant from parallel spacing algorithm connected by major seventh chains in Clair, movement I.

The nondeterminate application of grace notes, flutter, and trill ornamentation articulate the border of moment 7 (3.6-4.1). The perceptibility of its rising pitch contours is compromised by the dynamic and rhythmic instability of its fragmented, pointillistic texture.

Moment 8 (4.1-4.2) contrasts sharply with moment 7 in its extended phrases of rhythmically and intervalically jagged material.189 Across the moment, the material rises in register in three stages, each with a restricted pitch range of a major seventh (see figure 4.14a). Although the jagged content of moment 8 continues in moment 9 (4.2-4.3), the moment border is articulated by a stabilised pitch range, static forte dynamic, and harmonic assertion. As figure 4.9 demonstrates, the material is presented within a stabilised pitch range of E5-G6, resulting in the assertion of the pitch D6.

Figure 4.9: Extract of moment 9 showing RM-D asserting the pitch D6 in Clair, movement I.

The moment 10 (4.3-4.4) border is articulated by its contrasting polythematic construction, seeing the return of the RM-B intervallic material in the form of legato contours that descend from the pitch D6, as shown in figure 4.5. The fragmented iterations of RM-D are stratified by the aforementioned legato contours, and expand in phrase length with each iteration, as demonstrated in figure 4.10.

189 Section 4.3 will show that the intervallic and rhythmic material of these jagged phrases recurs as parent material for an episode of concatenated variation. It is henceforth labelled RM-D. 68

Figure 4.10: Extract of moment 10 showing the stratification of RM-B and RM-D in Clair, movement I.

The moment 11 (4.4-4.5) border is articulated by an increase to a static fortissimo dynamic and a dramatic continuous sinewave-shaped contour formed by the coalescing of RM-B intervallic fragments (see figure 4.11a, overleaf). This RM-B contour is extended by its RI6 transformation.

Stratified by moment 11, moment 12 (4.5-4.7) presents an inversion of the material of moment 10. Accordingly, RM-B material is transformed to form contours which rise toward the pitch D6, while the RM-D material is inverted and transposed down to a contrasting F3-D4 pitch range.

The continuous RM-B contour of moment 11 is inverted in moment 13 (4.7-5.1). As illustrated in figure 4.11b (previous page), the material is subject to a determinate code which sees each iteration of pitch class D asserted through the return of the RM-A triple-dotted rhythmic motive. Representing the longest rhythmic value employed across the movement, the momentary stasis offered by RM-A is destabilised by trills that alternate in presenting the upper and lower adjacent semitones around pitch class D. 69

Figure 4.11: Continuous sinewave-shaped presentations of RM-B across moments 11 (a), 13 (b), and 18 (c) of Clair, movement I. 70

The moment 14 border is established by an increase to a static fortississimo dynamic and its extended phrases comprised of semiquaver and quaver values within a restricted F5-A6 pitch range. The nondeterminate application of grace notes and accents contribute to each phrase’s jagged intervallic and rhythmic contour. Although the accents and jagged profile of moment 14 continues in moment 15 (5.3-5.4), the moment border is articulated by rhythmic fragmentation. As figure 4.12 demonstrates, this texture is contrasted by an increase in density to the continuous semiquaver movement of moment 16 (5.5-5.6), which is then countered by a return to jagged quaver and semiquaver rhythms of moment 17 (5.6-5.7).

Figure 4.12: Extracts showing juxtaposition of texture across borders of moments 14-15 (a), 15-16 (b), and 16-17 (c) in Clair, movement I.

Stratified by moments 14-17, moment 18 (5.7-5.8) evidences significant changes in parametric behaviours with a return to moment 13 content. The autonomy of moment 18, however, is guaranteed by its differing treatment of the RM-B intervallic material. As figure 4.11c shows, moment 18 initially presents the material in its prime form, and then continues to expand its pitch range through nondeterminate processes of inversion. This material is seamlessly followed by a reordering of sections of the RM-B material. Further reinforcing its autonomy, the triple- dotted RM-A values are subject to a code not apparent in moment 13. The code sees each RM-A iteration decrease in rhythmic value. 71

4.3 Identification of Inter-moment Unities/Continuities

Continuity Through Consecutive, Linear Development of Material

The semiquaver/grace note material which was the subject of a nondeterminate pitch order algorithm in moment 1 continues across moment 2. Despite the material being subject to a differing algorithm (a determinate windowshift code) the continuity of the material is reinforced by its forte identity, the sustained application of grace notes and accents, as well as its A#5-F6 pitch range. It is not until the last iteration of the figure in moment 2 where a localised border transition sees the pitch range extend to C7.

The first episode of concatenated variation to occur in the movement sees the consecutive linear transformation of RM-C material across moments 4 to 7. Across the first two variations (figure 4.13a and b), the contour and chromatic profile of the parent material is maintained, despite determinate algorithmic processes texturally recasting the material into new rhythmic figurations. Disproportionate to the degree of variation established across moments 5 and 6, a randomised algorithmic process recasts the material almost beyond the threshold of aural recognition in moment 7 (see figures 4.13d).

As outlined in section 4.2, the descending demisemiquaver material of moment 4 is the product of an intra-moment inverse pitch collection algorithm applied to the rising mordent figures that immediately precedes each figure. This demisemiquaver material becomes the parent material for moment 5. As figures 4.13a-b show, the simultaneous application of the following determinate inverse pitch collection/parallel spacing algorithm texturally recasts the material into its fragmented moment 5 form:

1. Take the descending demisemiquaver contours of moment 4 as the parent material. Present only those pitches not included within the range of the highest and lowest note of each contour as demisemiquavers. This is the moment 5 pitch material. 2. Replace removed moment 4 pitches with rests of equal value. 3. Mark all groupings of two or more consecutive notes with a slur. Mark all groupings of notes surrounded by rests with a staccato. 4. Mark the entire moment pianissimo, sempre.

72

The sequence of variation continues with the moment 5 material texturally recast in moment 6 into a new rhythmic profile. This profile is the product of the following determinate algorithm (see figure 4.13b-c):

1. Take moment 5 as the parent material. Replace all pitches nonadjacent to rests with a rest of equivalent value. This is the moment 6 material. 2. Each time the contour direction changes from descending to ascending remove the intervening rest. Follow the lowest note of the contour with the pitch of a major seventh above and precede the highest notes of the next descending contour with the pitch a major seventh below. If a major seventh interval is not achieved between the two new consecutive pitches, continue to step 3. If a major seventh is achieved, continue to step 4. 3. Following the first new pitch, insert the pitch a major seventh above. Preceding the second new pitch, insert the pitch a major seventh below. Proceed to step 4 regardless of whether a major seventh has been achieved.190 4. With the remaining pitches, increase the value of the first of every group of two pitches to the value of itself and its subsequent rest. Leave remaining rests intact. 5. Apply tenuto markings to all notes greater than a demisemiquaver in value. 6. Mark all descending contours with a forte decrescendo marking. Mark all rising major seventh figures with a piano crescendo marking.

190 The ‘proceed regardless’ instruction results in the appearance of the major tenth, octave, and minor ninth intervals of the first, second and fourth iterations of the rising major seventh chains. 73

Figure 4.13: Extracts of moments 4-7 showing intra-moment variation in moment 4 (a), resulting in parent material subject to concatenated variation across moments 5(b), 6 (c), and 7 (d) in Clair, movement I 74

The strict determinacy of the algorithms evidenced across moments 5 and 6 is significantly relaxed in following randomised algorithm that results in the content of moment 7 (see figures 4.13c-d):

1. Take moment 6 as the parent material. Apart from the lowest note of each iteration, change all rising major seventh figurations into grace notes. 2. Subject all grace notes to a transposition up an octave. Randomly exclude portions of this material. Maintain the piano crescendo marking across extended iterations of remaining grace note material. 3. Apply a piano dynamic marking and retrograde transformation to the remaining non-grace note pitches. 4. Randomly exclude some non-grace note pitches and replace with quaver rests. 5. Randomly subject some non-grace note pitches to transposition up or down a semitone and apply flutter tongue and trills to these notes at random. This randomised algorithm brings the movement’s first episode of concatenated variation extending across moments 4 to 7 to an end. Two further episodes of concatenated variation shall occur across the remainder of the movement. Whereas the first episode of variation across moment 8 to 12 takes moment 8 as its parent material, the second episode across moments 14 to 17 takes its moment 9 form as the parent material.

The episode of concatenated variation occurring across moments 8 to 12 sees RM-D maintain its recognisable jagged intervallic and rhythmic identity, despite its fragmentation and transposition. As shown in figures 4.14a-b (two pages ahead), the material of moment 9 is the product of a determinate algorithm that subjects the composer’s subjectively enforced beaming of RM-D in moment 8 to different transpositions so that the first note of each beam commences on the pitch D6. The sequence of variation continues in moment 10 where a determinate algorithm stratifies the RM-D material of moment 9 with iterations of RM-B fragments (see figure 4.14c). According to this algorithm, the first D6 pitch of each beaming is extended by transposed fragments of RM-B material that descend from the pitch. Although RM-D does not appear in moment 11, the process of concatenated variation resumes in moment 12 where the inverted profile of moment 10 is presented. This process sees each of the RM-D fragments of moment 10 subject to different transpositions within the limited pitch range of F3-F#4 across moment 12. As figure 4.14d illustrates, these transpositions statistically result in the continued assertion of pitch class D. This assertion is further amplified by the corresponding inverted presentation of RM-B in moment 12, which ascends towards the pitch D6. 75

Figure 4.14: Concatenated variation of RM-D across extracts of moments 8 (a), 9 (b), 10 (c), and 11 (d) in Clair, movement I.

76

The second episode of concatenated variation employing RM-D sees the material texturally recast into forms that stretch its identity further than what was evidenced in the first episode across moments 8 to 11. As figure 4.15 (overleaf) shows, the moment 9 form of the RM-D material is the parent material of moment 14, where it is subject to the following nondeterminate algorithm:

1. Take moment 9 as the parent material. Transform all values of a less than a quaver to semiquaver values (quaver values remain intact). Subject the first four notes to retrograde. Subject all remaining pitches to inversion. 2. Divide the inverted pitches into fragments of unequal length. Add a sforzando marking to the first note of each fragment. Transpose each fragment within the pitch range of F5-A6.191 3. Precede each quaver notes with an accented grace note, approaching the pitch either a semitone above or below. 4. Apply accents to all unmarked D6 pitches, and staccato markings to any unmarked pitches. 5. Insert a semiquaver rest at the end of the phrase followed by the I10 transformation of the entire phrase. 6. Apply the dynamic marking fortississimo, sempre to the section.

Shown in figure 4.16, the sequence of variation continues with the textural recasting of moment 14 material into a more pointillistic form in moment 15 according to the following randomised algorithm:

1. Take moment 14 as the parent material. Combine the value of the first two D6 semiquavers to form a quaver value. Transform into demisemiquaver rests randomly selected pitches that are not D6. Ensure the F#5-A6 pitch range is maintained. 2. Remove all grace note accents. Precede those D6 pitch without a grace note with a grace note that approaches the pitch from a semitone above or below.

191 It is the various possibilities for fragmentation and transposition that denominates this as a nondeterminate algorithm. 77

The following nondeterminate algorithm sees the contraction of the moment 15 to form the dense texture of moment 16, as shown in figures 4.16b-c:

1. Take moment 15 as the parent material. Remove all sforzando markings. Reduce all quavers to a semiquaver, followed by a demisemiquaver rest. Transform all grace notes into semiquaver values. 2. Insert grace notes between all intervals greater than a minor third, with a slur toward its subsequent pitch. The pitch of the grace note is either semitone above or below the pitch that precedes it. 3. Maintain accents on all D6 pitches. Slur all remaining groups of two or more notes. Apply staccato markings to any remaining individual pitches. The application of the following determinate algorithm to moment 16 material sees the return of the original jagged rhythmic profile of RM-D in moment 17:

1. Take moment 16 as the parent material. Subject all non-grace note pitches to retrograde. Grace note pitches remain attached to their corresponding slurred pitches in their original form. 2. Increase the value of all D6 pitches to a quaver. Apply marcato accents to these pitches. 3. Slur all remaining groups of two or more semiquavers. Apply staccato markings to remaining individual pitches. 78

Figure 4.15: Algorithmic transformation of RM-D across extracts of moments 9 (a) and 14 (b) in Clair, movement I.

79

Figure 4.16: Concatenated variation of RM-D across extracts of moments 14 (a), 15 (b), 16 (c), and 17 (d) in Clair, movement I. 80

Continuity Through Harmonic Assertion

As outlined in figure 4.1, a significant episode of harmonic continuity occurs across the second half of the movement. Throughout this episode, algorithmic processes at the microlevel are programmed to statistically assert pitch class D. Throughout the episode, the pitch D6, in particular, is reiterated through:

• Accent markings (evidenced in moments 10,11,13, 14,15,16,17, and18); • A contraction of pitch collection (moments 9 and 15); • Limitations on pitch range resulting in transpositions which assert the pitch (moments 9, 10, and 12); • Assertion as the peak of contours (moments 10 and 12), and; • Assertion through extended rhythmic duration (moments 13 and 18).

Microlevel programming similarly results in a brief episode of pitch class D assertion at the outset of the work. This assertion, however, gradually fades across moment 2 and is not apparent across moments 3 to 7.

Within the first half of the movement, an episode of harmonic continuity asserts interval class 1. The episode has its origins in the preponderance of semitones in the static pitch panels of moments 1 and 2. It is not until moments 3 and 4, however, where the interval class makes its force felt through its frequency of appearance in the form mordents, grace notes, and trills. The chromatic nature of the RM-C parent material sees the continued assertion of the interval class throughout moments 4 and 5. Where algorithmic programming sees the intervallic identity of RM-C compromised in moment 6, a companion algorithm ensures the continued assertion of the interval class in the form of chains of major sevenths. Although fragments of these chains remain in play in moment 7, the assertion of interval class 1 increasingly fades across the moment.

Continuity Through Border Transitions

As shown by figure 4.17, a localised border transition is evidenced across moments 2 and 3. Despite its stratification through the contrasting dynamic and register of the intervening RM- B material, the border of these moments is softened by an inter-moment process of interlock involving the retrograde presentation of fortissimo pitches. 81

Figure 4.17: Extracts of moments 2 and 3 showing localised border transition in Clair, movement I.

While a diversity of border transition classifications (very soft, soft, hard, very hard) is evidenced across the first half of the movement, an extensive episode of soft border transitions occurs across the second half movement (see figure 4.1). These soft transitions are not the result of localised transitioning of parameters across moment borders (as evidenced across moments 2 and 3), but are attributed to the greater similarity of materials characterising the entire second half of the movement. This similarity is engendered by algorithmic programming that statistically promotes the static loud dynamic, D6 pitch assertion, and continuity of register and pitch range.

Continuity in Dynamics

An extensive episode of loud dynamics across the second half of the movement has its origins in the terraced increase in dynamic across moment 8. Apart from brief interjections of soft dynamics that emphasise the stratification of RM-B and RM-D material in moments 10 and 12, a terraced climb in dynamic occurs across moments 9 to12 until a fortississimo dynamic is achieved and sustained from moment 18 until the end of the movement.

Juxtaposing the episode of loud dynamic continuity across the second half of the movement is the dynamic instability that characterises the first half of the movement. While the movement commences fortissimo, sempre, moments 2 to 7 see dynamics in a constant state of flux. Whether the dynamic scheme is tied to reinforcing the stratification of material (moment 2), supporting the rise and fall of pitch contours (moments 3,4, and 7), or the product of a randomised algorithm (moment 7), this dynamic flux serves to destabilise the texture across the first half of the movement.

Continuity in Pitch Range

Two episodes of pitch continuity materialise as a result of two episodes of concatenated variation. The first of these emerges across moments 5 to 7 where a constant pitch range of F#3-G6 is maintained. This is understood as a conscious act on the part of the composer; 82 despite the randomised elimination and transposition of a significant amount of pitch content across moment 7, the pitch range is preserved.

Concatenated variation across moments 14-17 similarly sees a pitch range of F5-A6 preserved. This is again understood to be consciously controlled by the composer, with the pitch range preserved across a randomised elimination of pitches in moment 15. Limited to an octave plus a major third, the limited pitch range across these moments draws a perceptible association with parent thematic material of moment 9. As figure 4.18 illustrates, the limited pitch range of a minor seventh in moment 9 marks the only other significantly compressed pitch range of the movement.

Figure 4.18: Graphical representation of pitch range across Clair, movement I.

4.4 Flexible Moment Form in Clair, Movement I

Across the first movement of Clair, multiple coexisting formal strata interact across the surface, midlevel, and macro formal layers. Surface juxtaposition in phrase construction, pitch contour, and rhythm emphasise discontinuities operative amongst the autonomous moment form units. Simultaneously, multiple ternary form structures operative at the midlevel, and a bipartite design operative at the global level challenge the delineation of the moment units, and work to stabilise the discontinuities of the moment form stratum. As a result, the listener’s perception of proportion and scale remains in constant flux.

Coexistent to the moment form design, contrasts in construction at the macrolevel substantiate the division of the movement according to a bipartite design (see figure 4.19, top line). Whereas the first half of the movement encourages a moment time listening mode, the second half sees the listening experience approach a threshold where the independent moments coalesce into a continuous, unified structure. Accordingly, the second half can be understood as a ‘moment’ 83 within itself, challenging the listener’s conception of moment proportions established during the first half of the work.

Figure 4.19: Coexisting midlevel and global strata operative in Clair, movement I.

Across the first half of the movement a high degree of juxtaposition in parametric behaviour results in the clear delineation of moment form units. These juxtapositions are engendered by factors including:

• substantial textural variety in thematic materials; • algorithmic process that favour great variety in the textural recasting of material; • the presence of a significant amount of new and non-recurring material; • high levels of diversity of both static and undulating dynamics at both the intra-moment and inter-moment levels; • high levels of rhythmic variety further reinforced by low levels of rhythmic order.

The precedence for clearly defined moment form units that these factors establish across the first half of the movement is dismantled once the opposite factors come in to play during the second half of the work:

• limited textural variety amongst thematic materials; • algorithmic processes that favour the preservation of material identity; • the employment of a limited amount of recurring materials; • inter-moment dynamic stasis (always loud); • inter-moment harmonic stasis (pitch class D is constantly asserted); • low level rhythmic variety, and the employment of processes that result in the progressive simplification of rhythmic figurations.

84

The axis separating the two halves of the bipartite design is softened by a period of transition across moment 7 and 8. While the randomised algorithmic processing of moment 7 leaves the listener suspended in an atmosphere of disorder, the rise in dynamic and pitch range across moment 8 prepares the listener for the onslaught of continuous pitch assertion, and loud altissimo activity that will follow during the movement’s second half.

Two adjacent ternary structures provide further reinforcement to the continuous surface texture of the second half of the movement (see figure 4.19, second line). The first of these ternary structures sees the identical thematic construction of moments 10 and 12 bookend the continuous sinewave-shaped presentation of RM-B in moment 11. This bookending serves to highlight moment 11 as a structurally significant event. Furthermore, the RI6 transformation of RM-B material within moment 11 can be understood as preparing the listener for the inverted presentation of moment 10 material in moment 12. Thus, a degree of implication and continuity arises that provides further counterpoint to the moment form stratum.

An additional ternary structure at the conclusion of the movement provides further midlevel grounding to the bipartite design. This ternary form sees the highly recognisable dramatic sinewave-shaped contour and arresting trills of moment 13 reprise in moment 18. At the midpoint of this ternary structure sits the variations of moments 14 to 17, centred around pitch class D. The reprise of the moment 13 sinewave contour following these variations resolves both tonal and structural implications established by the bipartite stratum. Contravening the moment form value of endlessness, this resolution of the bipartite stratum’s elements elevates the level of friction between the two formal strata.

Another midlevel ternary structure is evidenced at the outset of the movement. This structure sees the ascending contours of moment 1 symmetrically resolved by the descending contours of moment 3. A process of interlock connects the final C7 pitch of moment 1 with the opening C7 pitch of moment 3. As with the ternary structures of the second half of the movement, the middle section of this ternary structure establishes a degree of implication: across moment 2, RM-B fragments (shown in figure 4.5b) present four iterations of symmetrical rising and falling contours that act as a ‘micro-rehearsals’ of the resolution that transpires in moment 3.

The movement’s opening ternary structure points toward one of the many connections that can be drawn between the opening and closing of the movement. These connections work to temper the impact of the bipartite strata’s affirmative closure by suggesting a cyclical global design (see figure 4.19). Evidenced by the similarity of appearance of the material of moments 85

1 and 16 shown in figure 4.20, surface level associations of thematic material reinforce the cyclical design. This cyclical presentation of material resonates with the composer’s ‘historical’ (rather than ‘chronological’) conception of form, and his aforementioned assertion that in the late works ‘there is no progress […] the form is circular.’192

Figure 4.20: Extracts of moments 1 (a), and 16(b) of Clair, movement I.

The first movement of Clair is structured by coexisting moment form, bipartite, and cyclical designs that interact across multiple formal layers. The conflicting functions of each stratum and the structural proportions they individually promote averts the listening experience from being swayed into a singular temporal mode. Constantly antagonising the discontinuous ‘now’ of the moment form stratum are the continuities and implications established of the bipartite stratum. What results is a dynamic, shimmering form that matches the brilliance of the music’s virtuosic sonic surface.

192 Ford, ‘A man without imagination’ 120.