Crumb Musical Time

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AN ANALYSIS OF MUSICAL TIME IN SELECTED WORKS BY GEORGE CRUMB

A th e s is subm it ted to the G raduat e Fac ult y of Mc Gi ll U n ive rsity in p a rtia l fulfil lm en t of the re

qui rement s

for the degree of Master of Arts

by JOHN Mac KAY 't Thesis

su p e rv iso r:

Paul V. Pedersen f

Fac ulty o f Mu bic McGi ll U n iv e rs ity M on treal, Q ueb ec

> Augus t 1979

_

'{C) John MacKay August 1979

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ACKNOWLEDGEMENT

The author gratefully acknowledges the co-operation o f C.F. P ete rs C orporation a

nd Bel win M ill s P ub lishing

Corporat ion f o r th e ir permissi on to

re prod uce the various

excer pts referre

A spe cial

d to i n t h is st udy.

not e of

■thanks is owed to George C rumb fo r h is p e rs o n a l commun ication offering both the encouragement of his interest in th is th e sis

as w el l a s val uabl e advice in t

of co mpos itions for de

(

he selection

tai led a n a ly sis ..

V

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ABSTRACT

The approach

taken

in th is study

of m usical

time

,

is based on the differences between various contemporary con ceptions o

f m usical f orm a nd the d is tin c tio n made in*

cu rrent th

e o re tic a l w rit ings

sub jective

m usi cal experience.

bet we en ob jective an

d

A discu ssion of t he

b a s i c e le m e n ts o f Ge orge Cru m b's m u s ic a l la n g u ag e e x p lo re s h is inte g ratio n of tonal an

d t imbral

m ateria ls a nd discusses

a n umber of im po rtan t influe nc es on h is music fr om both ■ b f ' tra d itio n a l and av an t"gard e-styles. As fou nd in the an alysis o f se lec ted wor ks ("No pi en sa m en la ll u v ia .. ." , Madri gal s

(

Bk. I , Echoes

o f Time and th e R ive r, Dream Seq uen ce/ lux ' ' >• A et em a , and Music f o r a summer Ev enin g) mu ch o,f th e u nique e ff e c t of Cru mb' s mus ic can .be understood in control of t

he c la rity

o f long r ange

of fo rma l pa tt ern ing

rhythmic devel

opment. '

te rms of his and his

struc turing

The conclud ing d isc u ssio n

com par es and c o n tra st s Crumb 's musi c w ith th a t o f tw o o the r con tem po rary Am erican com posers.

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ABREGE

f t

C ette §tu de de temps m usical

/

pre nd comme p o in t

de pa rt pr emid re ment , la differen

ce c on sidera ble q ui ex iste r

en tre

les d iv er se a' conc eptions contemporaines de la forme \ * m usical e, e t en de ux iem e temps , la d is tin c tio n en tre les ^ * I experiences su b jec tive s e t ob jec tive s de j :a mu siqu e qui e s t observSe sife cl e.

gener, el ement chez le s th e o ric le n s du vi ngt ifcme ,

Un ap erg u des 6l 6m$nt s fonda roe ntavi x de la lang ue

m usical e d e G eo rge Crumb p o rte sur

1 'in te g ra tio n de div ers

f

m at eri aux de to n a lite

e t d e ti mbre ej t met an re li e f un

nofnbre d'influences sur sa musique ar e mod es of m otion. In the new m usic, ti m e as d u ra tio n beco mes a dimensi on o f m usical spa ce. The new s p a tia l ima ge of musi c seeks to p ro je c t the per mane nce of the worl d as co smos , as the e te rn a l p res en t. I t is an imag ej Of musi c whi ch as p ire s to Being, not Becom ing."

*

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- Jh e ^ e ^ se n tia l diffete n.e e bet ween the

sense of

"b ec omi jig" in

R oc hb erg's■ 't em poral i mage' an d th a t of "bei ng" a sso ciated •wit^i t he s p a tia l image can be rel a te d in m ore- p re c ise tic a l ter ms to the

ex ten t t o w hich pe rceiva ble an d p red ictab le

p a t t e r n i n g i s in v o lv e d i n th e m u s ic a l fo rm . the subjecti

ve inte rp reta tion

c h a ra c te ristic

the o re-

and anticipa

of t he experience of

P u t v e ry s im p ly ,

ti o n of eve nt s i 3

mus ic in whi ch there

is

p e r c e p t i b l e fo rm o f p a t t e r n i n g b e in g m a n ip u la te d by th e co mpo ser . —

Jn these

sty le s, the

:

musi cal future is X

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2. George Rochberg, "The New Image of Music," Perspectives

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Of Ue w, Music-, I l l (F a ll,

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1963) >P. 9 - 1 0 .

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{

to the liste

(.

n e r be cau se i t is p a rtia lly

impli ed i n the

incom

p l e t e p a t t e r n s o f th e p r e s e n t moment, and i s t h e r e f o r e p a r t i a l l y p r e d ic ta b le .

An u n q u e s tio n in g , o b j e c t i v e a c c e p ta n c e , o r as

Strav insky has

de scribe d i t , a sense of

'dyn ami c calm' can

be

observed in music which presents a minimum of apparent inten tion al organ

ization.

In su ch musi c, i t i s t he e ndur in g q u ality

of th e pre sen t moment whi ch is th e c en tre of m usical in

te re s t.

The musical future in this case is either too highly predictable or too

highly un

pred ictable

to en ga ge the l is te n e r in an y s ense

of subjective anticipation. This general perspective on musical experience and musical form is particularly useful in the description of much of the s ty li s ti c dev el opme nt whi ch ha s taken place duri ng this cen eig h tee nth

tur y.

in western a

*In the tra d ition a l tonal style

rt mu sic

s o f t he

and nin etee nth c en tu rie s whi ch wou ld be the p ri me

ex amp le of t he 't em poral i mage ' o f musi c, the li s te n e r's

recog

nition, either conscious or unconscious, of an abundance of %

for m al p atte rn in g in m el ody , ha rmo ny , rhyt hm, e tc.

is a princ ipal aspect of

the es the tic experi

te x tu re , dyna mic s ence.

3.

;

Any

The h is to ric a l o rig in of the f unda menta l idi oms and p a t t e r n s i n t r a d i t i o n a l s t y l e s i s o f t e n v ery com ple x, b u t u ltim ate ly to b e f ou nd in m usic's a sso cia tion Wit h e le ments of re a l lif e experi ence, i .e ., the da nc e, ritu a l ce remoni es , ly ri c a l, dramat ic euid n arra tive forms an d eve n lite ra ry p ro g ra m s. The v e ry g e n e r a l c o n c e p ti o n o f m u sic a l e x p e rie n c e as a t yp e of ima ge or' m etaphor' o f rea l l if e e ^ e rie n c e is fo und in Ba sil de S ^linco urt,' s a rt ic le 'Musi c and D urati on' an d is fu rth e r developed by Sus ann e Langer in F ee ling and Form. As w ill b e see n sh o rtly , m uch of the d iv e rs ity of twe ntieth century music can be related to the emergance and acceptance of d iffe re n t conc eptual mode ls fo r m usi cal f or m, b u t since

c >

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sens e of 'bec oming ' or 'go al d ire c tio n 1 in th is mus ic de pe nd s upon the lis te n e r's

!

in te re s t i n the compl et ion of

the se el ements o f for mal p a tter n in g . Wi th the ev en tual d isinteg ration o f t he fo rmal p red icta b ilit y wh ich cha racter ized

the tona l la nguage

of the

nin etee nth cen tury,

ch arac ter of musi cal time be cam e goal

o rien ted .

the gen eral

less in trin sic a lly

Vari ous fo rms of obse rvab le co n tinu ity wer e

nevertheless'derived in the non-tonal style!*through reference an d asso cia tion

with d iff e re n t ex tra-m usica l fo rms .

Such

would be the case in Schoenberg's atonal music dramas as it has b een t r a d i t i o n a l l y w ith so ng and o p e r a t i c fo rm s. S i m i la r ly , the n e o -c la ss ic ist relia n ce on academ ical ly d efi ned ^fcyjms an d the em er ge an ce of a sp a tia l, a rc h itec tu ra l concepti ^

for m in th e music o f Webern and Varese imp ortant com

posit ional fr ame wor ks for

new ton al resourced.

can be reg ard ed

as

the ex plo ration

of

In ter ms of m usical

much of t he mus ica l in te re st in

on of

ti m e, the re fo re ,

trad ition a l tonal s

tyle s

can be understood as the creation of plausible discontinuities w ithin es tab lish ed idi oms and

f■

th e o rists o f Schenker

pers pspect ives as diffe

an d Leonar d Mey er.

4

Co nve rsely,

by many

re n t as t hose

much of the

in te r e s t

th is re la te s to Lan ge r an d de S e linc o u rt's no ti on s (wh ich deal p r i ma r il y w ith t r adi t i onal form s) i n o n ly t h6 m ost g e n e r a l wa y, th e ir work w ill not be br ought d ire c tly into th is discussion.

[*

> I ;,

wi th an aly tical

p a tte rn s, a v iew held

4.

r "j '

W ithout going i n t o any de t ai l on th e d if f e r e n c e s ^ a n d sim ila ritie s be twee n these two pe rspe ctives, th eilig e n er a l

vi usical m anipulated ity ker' is sexp'prolon ressed ga tion' in ewth of e ir msele ctionti meof asteraminol ogy suc hcoasn tinu Schen

I )

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in twentieth century styles would appear to be in the creation of a convinci

ng co ntin uity

using musi cal m ate rial

fo r whi ch no

p r e v io u s ly w e ll e s t a b l i s h e d m u s ic a l p a t t e r n i n g h as e x i s t e d . Of the extra-musical models or constructs previously ment ione d, the

sp a tial-a rc h itec tu ra l c oncept ion of form 'intro

duced in the music of Webern and Varese has received widespread «

at t ent i on and el ab or a t i on among modern t heor i st s a nd com posers. Wi th t he e li m inati on of an y observable reference har monic dire

to tra d itio n a l

c tio n in th e ir m usi c, both Webern an d Vares e

cu lti v ate d d iffer e n t el emen ts of 'sp a tia l' pa tt ern ing;

Webern

with his predilection for geometric symmetries in pitch and ti m e, an d Var es e with his of harmo ny an d tim bre .^ con ception of

rep rese nta ti on of sh iftin g sonic mas ses This more ' v is u a lly ' in sp ire d

for m was fu rth e r develope d in the musi c of

Ian n is Xena ki s (M eta sta sis) whe re .-the re is a high ly so p h isti c a te d tran sla tion o b jec ts

of t he s ta tic

(height, leng

of p itch a nd time.

sp a tial

di me ns i'on s of phy si cal

th a nd dept h) into S im il arly,

the sonic

dimens io ns

a type of grap hic, sp a tia l

or 'in ter ru p tio n ' or Meyer ' succ essive dev iati on ' or 'the law i of g.oo d c on tinu atio n 1(t he l a tt e r ter m bo rr owe d f rom G es talt psycholo gy) . 5.

Al tho ug h i t is necess ary in th is discussi on t o pass b r i e f l y o v er th e p r i n c i p a l f e a t u r e o f i n d i v i d u a l s t y l e s , a p a rticu larly valuabl e r eference fo r this aspect of Varese' s music can be found in his own description of the way in which he conceived Integrales in"Le Poeme Electronique Le Corbusier," Les Ca h ie rs F o rc es Vj yr e s , p g . 1 92. - - - - - - - -

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model of musical form emerged in the music of both Ligetti** (Atmospheres, Volumina)and Stockhausen (Gruppen)where se ria lize d ti m bral a nd tex tura l c harac ters a more or less s

(ea ch hav ing

ta tic , d irec tion les s for mal organization)

are ju x tap o se d m uch like

the colou

rs a nd surfaces of

abstract painting. —^ The se la te r wo rks of Xenakis, Stock

haus en an d L ig e tti,

in whi ch there i s a consci ous tra n sla tio n o f sp a tia l im ag es into musical form, are characterized by an absence of any suggestion of movement or direction, basic elements of exp erience whi ch we re s t i l l p res en t to a degree in tf

ee rhy th mic

g e st u re s of We bern an d Va rese , and which were among the p r i n c i p a l f e a t u r e s o f th e more t r a d i t i o n a l s t y l e s .

As Roc hb erg has po inted image of musi c, the experi ence is

ou t concerning

th e 's p a ti a l'

ce n tral in te re s t in the musi

cal

^

not i n the fu lfillm en t of long rang e goa ls,

b u t i n t h e more i n s ta n ta n e o u s p e rc e p tio n o f i s o l a t e d fo rm s betw een w hic h t h e r e may be a g r e a t e r o r l e s s e r d e gre e o f co ntinu ity.

The difference in

degr ees of inte rn al pa tterning

betw een s t y l e s w hich a r e e s s e n t i a l l y

's p a t i a l ' in t h e i r

co nc ep tion cam be observ ed in compari ng th e abo ve wor ks i?of

6.

^ j

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Again , a valua ble ac co un t' of thi s ca n be fou nd in the com pose r's own words. See L ig e tt i' s "Met amor pho ses of Mv^sical Form" in d ie R eih e, volu me VII pg . 15.

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% ^!

X enakis and Lige t t i wi th w orks of Boulez ( St r uct ur es I e t I I ) i

an d Cage (4 '22 ").

*—

p a s s a g e s w hic h hav e an o b s e rv a b le y ^ e H n a l c o h e re n c e e i t h e r tex ture , ti m bre,

L ig e tti

gesture

log ic i n t he succession

an d Xenakis

p res en t is o la te d

or a rtic u la tio n , bu t no observable o f/the se passages.

The more a n tite le -

o lo g ica l wor ks of Bou lez lan d Cag e, e ith e r by the of .very

in

im po sit ion

coittgTejc^a nd^ a r ti tr a r y de term inan ts o f for m (a s i n

Boul ez) < /r 'by the con scious ne ga tion of in te n tio n a l coherence (as iiy th e case of m uch of C ag e's mus ic) no pe rce iv ab le cohere nce or pa ttern in g emer ge s in SC

the mu sic a t a ll . Form in

the se \l a tt e r style s has onl y the mos t su p erf icia l lon g ran ge , unity which is understood as a duration fo rtu iti o u sly related

events .

Le on ar d M eye r's observati

I t is

oi

arb it raril y or

inte res ting t o not#*

on o n t he se ns e of s ta tic , d irec tion 

less time of this music. "If only unique particulars, not the causal connections between them are real, then no event p re sum es o r im p lie s th e e x i s te n c e o f any o t h e r event. If ev en ts.ar e w ithout im pli cati on , it makes no difference in whaf temporal arrangement theyto are scrib world is a ll expe in tenri enced ts a ndorpur de pose s wedit .houtThed irected time . More ove r, eve n though the ex isten ce of ca u sa tion b e ad m itt ed , h uman ti me is w ithou t d irec tion w hen a tten tion is foc uss e^ ex clusively on t he ,uni quenes s of p a rtic u la rs ." # r

The general situ the re e x ists

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a tio n in cont empor ar y mus ic is

a wi de d iv er sity

in co ncepti ons of

th a t

musical f orm

Leon ard Mey er, Music,

the A rts and Id e a s, (Chicago:

U n iv e rs ity of Chicago

P re ss , 196*)), p. 164.

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and in the way in which continuity and discontinuity can be und erstood b y to d ay 's au die nc es.

As Jonathon

Kram er has observe d

in a recent article, the different conceptions of time and exper ience in today's mu sic often re fle c t sig n ifican t so cial

and

c u ltura l a ttitu d e s . ■ yr "I hav e w ritten els ew here about th e cor re la tion be twe en di sconti nuous lif e sty les and co nt emp or ar y a rt . .Si nc e w ri ti ng th at a rti c le , I ha ve found i t increasingly d iff ic u lt to exper  ience musi cal co ntin uity com fort ably. The re is so met hi ng a r ti f ic ia l, so met hi ng otherw orldl y, about the idea that one musical event can actually p r o g r e s s t o a n o th e r . Even l i s t e n i n g t o th e m ost innocently linear tonal music involves some sense of co ntrad iction . The c o n flict is no t in the music; the conflict is between how the music uses ti me an d how a cont emporar y lis te n e r un derstand s tim e. Rece nt musi c th a t d ea ls w ith ti m e in new ways ha s s ought t o solve th is c o n flic t an d i n so doing i t has St ru ck^ £- "n er ve ce ntre in our c u ltur e. I re fe r to a n titeleo lo g u ca l mu sic! (e .g ., some wo rks of John Cage) , whi ch p res en t s ta ti c , en dless No ws: to pro ce ss p iece s (e .g /, some wor ks of Steve Re ich ) that move inexorably^xhrough wellAdefined gradual cha nge s (Is th is a de sperate att em pt to recap ture c o n tin u ity ? ) and to moment fo rm p iec es (e .g ., some works of Karlheinz Stockhausen) in which the music co nsists of a success ion of se lf cont ai ned section s that do no t re la te to ea ch othe r in a ny fun ction ally im p lic a tiv e mann er. Howeve r, c ompose rs o f moment form continuity th a t pieces w ould have be a not fic given tio n ,upbeca use i mentirely; plicati on is s t i l l possibl e and- the dis com for t of co ntinuity Can be used p o sit iv e ly . But im p licatio n is now localized because it has become but one possibility w it hin a largd.un iverse; co ntinu it y is no longer p a r t o f m u sic a l s y n ta x , b u t r a t h e r i t i s an o p t i o n a l p ro c e d u re .' I t m ust b e c r e a t e d o r d e n ie d anew in t * each p iec e, and thus i t is the m ate rial a nd no t e l anguage of the m usic." 8

8 . ^ Jo na tho n Kra mer, "Moment Form in T w en tieth Ce ntury M usic," M usical Q ^ k fte rly , (LXIV) (1 97 8), p . 178-179. (

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Kra mer 's r ema rks ar e a n in tere stin g re fle ctio n o f t he influenc

e wh ich the

's p a ti a l'

ima ge of mus ic has ha d in the

gend ral liste n in g ha b its of cont empora ry audiences.

At the

same time, however, Kramer points to the interesting possix^ b i l i t y w hic h e x i s t s in conte m pora ry m u sic , o f c r e a t i n g i s o l a t e d * “ c o n tinu ities w it hin wh at he vi ew s as the globa ll y s ta tic trea tm en t of m usical /

musi c.

This

ti m e whi ch has pervaded contemporar

la tte r observation

in t he study of

y

w ill be of fu rthe r rel evan ce

Cr umb 's p a rtic u la r treatm en t of m usi cal t ime .

Gi ve n th e sty lis tic d iv e rs ity . wh ich has em erge d in the rec en t Vavani garde

, the an aly sis of

m usical t ime an d e sth e tic

experience within indiviflual styles has an important place in the discussion of contemporary music, as it has generally among the various perspectives in contemporary music the.ary Like mos t c u rre n t pe rsp ec tive s in musi c theory , howeve r, the analysis of musical time must be pursued within well defined lim ita tio n s.

U lt im ately,

an y ty pe of observable

for mal

p a t t e r n i n g o r i m p li c a tio n o f p a t t e r n i n g many be r e l e v a n t to a n ind iv id u a l' s exper ie nce of a

wo rk si nce th is w ill pr ovide

a ba sis for t he sub jecti ve an ticipa tion of

even ts .

Ca ref ul

co nside ration m us t be giv en to

lim it t he discussion of p

ing t o f ir s tly , thos e el ements

wh ich are perce

atte rn 

ptua ll y within

the gras p of a liste n e r in a no rmal listen in g s itu a tio n , an d secondl y, those el ements w hi ch are rele v an t to th e, ge n era lly acc ept ed s ty lis tic

under st andi ng of the mus

ic.

()

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12

c.

„

k

Th is c an b e c ar r i ed out

ic a l a ppr oa ch to an alysis,

wit hi n a t radit i on al hier arch focus si ng atten tion on

d iffere n t

'le v e ls ' of me an ing and stru ctu re fr om the sh o rtest sig fic a n t ges ture to t he el ements

of long range

u n ity.

n i

An

account of the basic aspects of formal organization or 'm usical language' w

ill b e t| iken as a b as is for the an

of music al t ime since th

is is the sour ce of p atterning

p r e d i c t a b i l i t y in a s t y l e .

aly sis and

A lt hough i t i s i n t e r e s t i n g to

uncover various hidden structural devices which reflect the ^cletail of a composer' s conce pti on of for m, th e ce n tra l o b jec t of th is st udy w ill b e the n ature of the co mmu ni cat ed e ffe c t o f a‘st y le as

i t re su lts

an d ba sic facto fea tures

from the elements of

rs of musi cal exp eri ence .

of st rueturalyde^ign w

wher ever po ssible

ill there

in te rms of the

natur e of th e ir signifi

The tra d itio n a l fore b e discuss ed,

ir percei ved ef fe c t a nd the

can ce w it hin the h ierarc hic al form a nd

w it hin the p a rticu lar logic of co To these

m usi cal l anguage

ntinuity

of a wo rk.

end s, th is study w ill dra w up on the approaches

to s ty li s ti c an d fo rmal an aly sis deve loped i n the w ork of Leo nard Me yer (Emot ion and Me aning in M usic, Music, t h e A rts .^ an d Idea s) , Jan L a Rue (G uideli nes fo r Sty le A nalysis) an Eugene Nar mou r (Beyond Sch enkerism ) . fundamenta

l param eters

d

La R ue's wor k d e lin e a te s

o f perceiv ed form in m usi c, as w ell as

b a s i c common Id io m s w hic h a re fo und i n r e s p e c t t o th e s e p a ra m e te rs i n a w id e v a r i e t y o f s t y l e s and p e r i o d s . o

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A lt h o u gh

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13

V

h is g eneral reflected

app roac h to d eta iled in t h is st udy.

an alysis w

ill be st rong ly

In addit ion to t he s ty lis tic

and

structural elements of the more detailed analysis, certain find ing s in the p ercep tion of fi c a lly

rhy thm and du ration

(more spe ci

some o f those wh ich Paul F ra iss e has presen ted in

Th e Psyc hol ogy of Time) w ill be

re fe rre d to in o rde r to o bjec 

ti f y c e rta in clai m s made in the cou p a tte rn p r e d ic ta b ility , ex tensio n of whi ch is R ealization m

rs e of the study r

L eonard M e y e r's w r i tin g s

egarding (an im p o rta n t

fo und in Eu gene Na rmour 's Im plica tion-

qd el for an alysis)

w ill receiv

e m ore sp ec ific

reference since they relate directly to the description of esthetic experience derived from the recognition and expectation of for mal pa tt ernin g in bot h tra d ition a l a nd avant-gar

C

Rep roduced with permission of

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de sty le s.

14

CHAPTER I I :

CRUMB'S MUSICAL LANGUAGE

Much of the response which Crumb's music has enjoyed over the la s t fifte e n years ca n be a ttrib u ted

to his uni qu e

and convincing combination of typical elements of the avantgar de with

very f unda ment al a nd tra d itio n a l element s of

m usica l. pa tterning a

nd e ffe c t.

style

integ rates

ver y co lo ristic

sonic

(ton al an d ti m bral)

In gen eral

te rms,

and often rich

Cr um b' s

ly connot

at ive

imager y with a for mal el egance

which is readily apparent in the use Of various terms of re p e tition an d ly ric a l dramat ic gestu re.

As w ill be se en in

the following discussion, the unique quality of musical time

^

in Cr um b' s sty le ca n be

rela ted to bot h the iso late d eff ec ts :/ Rep roduced with permission of

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Furthe r reproduction prohibited

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16

(

The p rinciple ^

con tent of Lorca' s poetr y re fle c ts his sp iritu a l

communion w it h his (p re -fa sc ist S pain,

imme di at e n atu ral an d soc ial env ironme nt es p ec ially Andalusi

a an d Gr an ada )

> It's

widely ranging emotional intensity is focussed on fundamental p s y c h ic e le m e n ts o f l i f e u s u a lly i n a p r i m i t i v e r u s t i c s e t t i n g . Perhaps the best description of Lorca's influence on Crumb's musi c can be found in Crumb's

own wor ds i n h is no tes fo r th e

recording of Ancient Voices of Children.

"Ift Ancient Voice s of Ch ildren, as in m y-e arlier Lo rca s e ttin g s, I h ave soug ht m usical i mag es th a t enhance and reinforce the powerful, yet strangely haunti ng i mage ry of L orca's po etry . I fee l tha t the es se n tial me an ing of th is poetry is conc er ned wit h the mo st pri mary thing s: li f e , death, love , the s mel l of the e a rth , the so unds of the e ar th an d sea .. Th ese "ur-g on cep ts" are em bedded in a langua ge whic h is p r i m i t i v e an d s tj^ rk , b u t which i s c a p a b le o f i n f i n i t e l y subtle nuance."

, '

)

'

Much of the g en era l atmospher e of L o rca 's po etry

is immed iat ely

com patibl e w ith th e m ate ria l with whi ch C rumb was the f ir s t pieces of his n

ew sty le

(Fi ve Pieces fo

work ing in

r P iano ,

Elev en Echoes of Aut umn , Fo ur N octurn es and Nig ht Mu sic I . Th e rich an d e the rea l rso n o ritie s, the su dd en expr ess’ ion istic, . s

out br eak of dra m at ic t ension , the isola

ted

ly ric a l figure

12 George Crumb,vVoxce s o f C h ild re n , (New York, Records , 197 1, H- 71 25 5) ” no tes on reco rd cov er.

;

Nons uch

('

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witho ut permission.

s, and

17

(j

si m pli sti c rep etit ion s a ll have sign if ican t p ara ll els p o e tr y .

In a d d i t i o n , much o f t h e L orc an gypsy w o rld i s evoked

(espec ial ly i n the l y ric a l setti ng s) . conn otat ive ter m s: folk

in Lorca 's

ins tr um ents

in purel y m usi cal ,

for ex amp le, t he sugg esti on of tra d itio n a l

(guitar , or g u itar imm

it at iOns,

flu te an d

drumming) the imm it ati on of tr a d itio n a l Spanis h m usi cal sty ld s ^

(the bo lero " Dance ofo the Earth" of

A ncient

Voices

of C hild ren ,

*

the fl am en go lik e 'cadenza ap

i

• >

pa ssion ate* of Son gs , Dr one s

and Refrains of Death) and the immitation of the Andal-usian

*"

'can to jondo'

(a w il dly emotional

v o ca liza tion

an d lament whi ch

is very common in the r u sti c Spani sh fo lk tr a d itio n )in

a

number of vocal works .

Of the very general features of Crumb's style mentioned ^

a t t h e o p en in g o f t hi s c h a p te r , b o th t h e h i g h ly e v o c a tiv e s o n ic image ry , land the use of tr •

’

a d itio n a l elements of for

mal

> '

p a t t e r n i n g c a n be r e l a t e d e x p l i c i t l y t o key e le m e n ts o f L o r c a 's . p oe tic st y le .

L orc a's ric h y e t mo ving image ry has received.

;

*

;

*

much, a tt .enti on from c ri tic s for sym bolic ar ch ety p e s.

I

de scription o

its

.

refere nc e to a v arie ty of

Howard T. Y dung has give n a v alu ab le

f th is aspec t o f L orca's verse wh

ich is str on g-

reflected in Crumb's music. 1 | | I | | i ■(-).

«*•■•* * rifjr v^)

VtVri ptw* J

[A.ool^Tj(W«v)

p p p p

MM

•

CortlrttatJ > f>u

f w £) ViW tptont pl«ft

W * f * r | ft lr, V «j

N ii iK l ( m I

m

ic

Ii I

»'itf

p r«J «c

t, ha s a ver y sig n ifica n t

ro le in t he o v era ll d irec tion ” of the piece

.' 1' T he an teced ant

lin e ’no pi en sa m en al llu v ia 1 gains e mph as is i n i ts va ried re it e r a tio n in ‘Rai■vn- Deat h Mus ic I' , bu t i n the fo u rth st atem ent

(a to ta l of two fu ll stateme

r) the more of less exact repetition creates a

Death Music

28

'

sense

nts o cc ur in'R ain -

of satu ration

o f an ex pec tat ion of

focuss es in te re st o n the a n ti cip ated

ch ang e whi ch

co ns eq ue nt line

('y

se

han dorm ido') whi ch is em phasi zed

from i t s having b een * del ayed a nd from the fa c t tha t i t co n stit ute s the fin a l

i

moment, o f the p ie c e.

i

< * F |

A f t e r th e en d in g o f t h e p ie c e h as become a p p a r e n t ,

( '

'

!

the

liste n e r can re fle c t upon the long rang e design .

un de rlying

elegance

emer ges in no t only

the^ va rious

A c erta in for mal 4

re itera tion s b ut a lso in the durati p rin c ip a l p assag es.

on al patt erning of the

Th e f o llo w in g i s t h e le n g th o f th e

. * passage s whi ch wo ul d mos t lik e ly be "disti ng uished by a lis * .

the ope ni ng c rista lin e 'in ton atio n ' seve nt ee n seconds, 'molt o d e lic a to '- about twen ty-f our secon ds,' ft ain-D eath Mu sic I' tabout fi ft y sec onds, the

,

%

na ti on se ve nt ee n s ec ond s > f and *R ain-D eath Musi c XI* ab o u t tw en ty-o ne sec on ds . The

re itera ted Into

con tent of clo sin g gesture i s not o ne of th e p re do mi na nt so n o rit ies of the piece ( i . e . e ith er the *semitQne* or ‘tr ito n e and semi tone * groupings) and as such cr ea te s a se ns e o f s u b tle harmonic deviation and openness in the ending. 28 .

See Leonard Meyer, Emotion and Meaning in Mu sic, p . 135,

O

•

■•

i .

_

~ *!

'i

i

'

te n e r:

'

Reproduced with permission o

*

.

.

.

0

f the copyright owner.

'

*

'

Further reproduction prohibit

w

'

ed without permiss ion.

«

47

( >

appr oxi mate equ II'an d the

ivalanc

e>in the du rati on o f the' R ain- D eath

'molt o d e lic a to ’ passages is reinfo

rced b y t he •

fac t th a t they b ot h fol low a stat em ent of

the 'crista

int on ati on and t he y b ot h present stac

syllabic tre

ment s o f the t e x t. co nside rably long

atto

lin o ' a t

The c e n tr a l ‘Ra in-Death M usic I' is er t han the

'm olt o d e lic a to ' an d the 'Rain-

Dea th II ' an d also co n tains , in compari so n to .the se pa ssag es, \ t a no ti cea ble e ffec tive elab ora ti on of the textu al mel od ic lin e .

The mo re immedi at el y tang ible

des ign a re of

co ur se the cy clic

the re curr ance of

asp ec ts of the l ong ra nge

re p e titi o n s of t he t e x t,

the 'c ris ta lin o ' int on ati on a nd possibl

y

\

the d e ta il of the recu three

rrent hi gh re g iste r B -F in e ach of t he

p rinc ipa l passages.

recurran

As not ed he re.m ore subtle

ces w ill be h ear d in the te x tu ra l dev elop me nt o f' R ain -

Death M usi c I* and 'Rain-D eath Music I I ' and between 'Ra in-D eath Mu sic II ' and t he 'm olt o d e lic a to ' se ctio n in du ration treatm en t of the tex throughout

t.

the three p

and the'

Added to th is is a type of deve lo pment rincip al passa ges in te rms of a c tiv ity

an d dy na mi c le v e l, i . e . , 'Rain- Death Mus ic I I 'i s the so fte st a nd mos t ac ti ve as if in im itation (as >men tione d e a rlie r)

of an increasi

even tual

fa llin g asleep.

ng stead

iness

in the rain a

The re s u lt i n ter ms of m usi cal

time is sim lar t o wh at w ill be se en in c e rtain longer

piec es.

re p e tition o

A ce ntral rep

f t he t ext)

dimensi ons of the w

nd the

e titive p

of Cr umb 's

roces s (i n th is cas e the

ge ne rall y det er mines

the l arg er

or k, an d pro vide s a b a sis fo r lower

/

P

i

~

A

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Furthe r reproduction prohibited

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lev el

V

48

, (

ex pe cta tion s.

Su pe rimpo se d upon , or co inc ide nta l wit h th is

i

ho wev er , are t he oth er recurranc

\ t |

es in

ge sture

or tex tu re or p itch , wh ich impl y the presence

(t he inton ation s)

of other

pro ce sse s, and whi ch co ntribu te ad de d di mensi ons to the

ba sic

formal design.

In loo king m ore gene rally not ed th a t t he pa tt erning of

a t Cr umb' s music,

ex ten t in'N o i

>

be

re ite ra te d m ater ial i nto longer

re p e titiv e seq uence s is a v er y impo rt ant aspect me nt of mu sical

i t can

of his

tr eat -?

ti m e.

This cou ld be se en only to a lim ite d £ pi en sa m en la llu v ia ' bu t is q uite pro min ent

*

in 'Cancion de Jinete* of Songs, Drones and Refrains of Deat h. ,

^

Ve ry a b stra c tly , if W ,X,Y, an d Z are i nd ividu al

g estu res or passages an d passages

pl ayed by a p a rtic u la r play er, many piec es

of Cr um b's mus ic wou ld ha ve W X Y Z W X Y Z

W-X Y Z or s omethi ng li k e th is as th e ir ba sic for mal de sign . In ter ms o f music al t ime, the

e ss e n tia l inte re st in

th is

j

ty p e o f c y c l i c a l o r g a n iz a t io n i i s b o th in t h e im m edia te and lo n g

{j

ra nge p re d ic ta b ility and the sense of process or de ve lop men t whi ch i s d e r iv e d th ro u g h an y d e v i a t i o n in th e s im il a r

I

segments.

An extension

of th is cy clic

m a te ria ls can be seen in

org an ization

of

Crumb' s more c omp lex pa ssa ge s.

typically in Crumb's music, textures of increased density and complexity are derived through a simple superposition of d iffe re n t cycles of

^

events as

in the many instances

'c ir c le music ' or the occ asional i nstanc e of i sor hyt hm.

Reproduced with permission o

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Further reproduct

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of

Ver y

3

^ i

49

The l a t t e r of th es e idi oms

(found

number on e, "La Noche C a n ta ... ."

Book IV,

and i n 'Myth' o f Mus ic

for a Summer Evening) is in keep ing with the ge ne ral con ceptio n o f t he form o f th e medkjevil iso rh y th mi c * mo te t. No ta te d

*

’

in M adrigals

in a s tr ic t t emp o, i t co nsists of a at e p arts du ration . discernab

supe rpositi on of t wo separ

ea ch repea ti ng a rhyt hmic stru ctu re of

d iffe re n t

The supe rpo sed rhyt hmic cy cles contain le gestures b

ut ar e too

lon g to be

e a sily

ea sily

recogni zed

as re p e titi v e p a tter n s (s ev en and ten meas ure s i n 'La Noche C a n ta...'

and sev en and thirte en

in 'Myt h' ) esp ec ially si nc e

they ar e heard tog ethe r, an d in both case s, a third p a rt en ters i ndependentl y wit h d iffe re n t m ateria l. Be caus e of the distinct timbral and gestural quality of the events within

f

the individual lines, the listener is aware of a type of repetitive process, which remains unpredictable because of the textural complexity, unfolding evenly and steadily in obedience to the hidden in te rn a l l o g ic.

Th e isorhythm

ic f orm of 'Myth'

is particularly deceptive to the ear since both cycles are internally symmetric, creating further repetitions within the

J; ^

i n d iv i d u a l is o rh y th m ic l i n e s .

'C irc le m usi c' by co n trast I

free

i

f !| {

and spo nta neous

is comp osed as a rhythm icall y

sup erp osition

ing in a den ser co mpl ex of e v e n ts.

of m ateria l usu ally The technique

re s u lt-

d ivid es

‘ the ens embl e in to sep arate

(

indepen

Rep roduced with permission of

dently playing

the copyright owner.

groups

a se ries

of pe rform ers,

o f fr agments,

Furthe r reproduction prohibited

eac h gro up

leavi ng a few

witho ut permission.

■%

If

50

sec onds bet ween each. of t he en j^ies rise

29

In mos t in sta n c e s, a stagg ering

of tfie diffe re n t gr oups crea

an d f a l l in the comple

tes

a gr adual

xit y of the sou nd, and in ad d ition ,

the sense of superimposed cycles becomes more apparent when the sep ara te groups play the

same m a ter ia l as in

Ec ho es of

*

Time an d th e R ive r an d Son gs, D ron es and R efr ain s of D eath , cre atin g a type of time,

imm it ati ve exchange.

In ter m s of m usical

c irc le m usi c, lik e iso rh yt hm c rea tes a f low o^ eve nts

in wh ich in te re stin g e ffe cts

aris e in the

tapp os it ion an d overl appi ng of ge stures of con scio us n ess ' or drea m -like ambience.

sp ont an eo us j ux often

in a ' str eam

As" can be imagined,

circle music presents no sense of directed succession or p re d ic ta b ility

(e x c e p t p erh ap s v a g u e ly i n th e g e n e r a l r i s e

and fa ll in the den sit y of the ov era ll te x tu re,

and agai n

p erh ap s when t h e c i r c l e music is slo w and lo ng enou gh t h a t any 'echo ing'

o f m aterial

and as such , i co ntrast to

coul d be recogn ized a nd an ticipate

t o ften provides

d)

a str u c tu ra l an d dramati c

the m ore rhyt hm ical ly s tr ic t and direc ted passages,

As of y e t, in on ly o ne of Cr umb' s p ie c e s , Dream Sequenc e, doed the c ir c le mus ic form the predom inant org an ization o f the whole work.

29.

The fragm ents of eac h cycle of m ate rial are arranged o n the page in t he fo rm of a c ir c le , hence the n am e. This would not appear to have a substantial role in the musical e ffe c t, b u t i t do es pr ovide a graphic neg ati on of the tra d itio n a lly ilin e a r conc ept ion o f time w hich is impli ed in convent ional no tation. Th is is p a rticu lar ly appropri ate to the sense of s us pe nde d d ire c tio n th a t is co mmu ni ca ted in the various passages of circle music.

Reproduced with permission o

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Further reproduct

ion prohibit ed without permission.

o

As seen i n 'no pi en sa m en la ll u v i a . .. ' the 'echo ' is a common ima ge o f re p e ti ti o n in C rumb' s music,

and is

an

obvi ous sou rce of ' su cc es sive co m pa rison'. The 'echo ' is tre a te d in Cr um b’s mus ic much as i t occu rs n a tu ra lly faintly and at a greater or lesser delay after the srcinal m ateria l

I t thus cr eates at ype of la rg e r r hy thm as se en i n

some circle music passages where the echo overlaps with the p rec e e d in g m a te r ia l or in c e r t a i n l e s s complex p a ssa g es which c o n si st of a si mple successi given fig u re .

on of tw o or th ree ec hoe s of a

The 'echo ' is a f a ir ly co nmon p o etic i mage in

Lorca and as a m usical e ff e c t i t embodi es many of the m ysti cal and sup ern atura l overt ones wh ich are a t the h e a rt of * Cr um b's sty le .

Another very important aspect of Crumb's treatment of re p e tition

an d of musica l t ime i n ge ne ral,

of r it u a li s ti c exp eri ence.

Li ke the

is the sim

ulati on

'echo ' th is c an Be*

li nke d wit h the evoc ati on of the m ystical

and sup ern atural

in Crumb's music and is an appropriate setting for many of 30.

A lice P o llin g s A Conc or dan ce o f th e Play s and Poems o f Fed erico Garcia Lorca c ite s se venteen occurrences of ' eco ' o r kec o s* . One examp le which wou ld be p a rt ic u la rl y in keeping with tfre tone and evocation of Crumb's music is fou nd in ' P re lu d e' from the ' Canciones •. <

O

"El vie nto e s ta am ort ajado a lo largo bacjo e l c ielo Per o ha de ga do fl otando so br e los rio s sus eco s."

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"The win d is enshr ouded a t len gth beneath the sky. But i t has le f t floa ting upon the riv e rs , it s echoes."

Furthe r reproduction prohibited

witho ut permission.

the ex otic sounds

of Cru mb' s mus ic (e sp e c ia lly the

of rit u a li s ti c conn otat ion li ke the g on g, or

so un ds

templ e bl ocks

or cha nt ing e tc .) . I n t er ms o f e sth e tic e ffe c t, the e lemen t of ritu a l is ch arcteri zed by

a rig id adh er en ce t o p att ern

an d the refo re an, abse nce of a ffe ctiv e d ev iation . the fol lowing concer

Meyer no tes

ni ng ritu a l in prim iti v e mus ic.

"Much p rim itiv e mus ic is intim ate ly conne ct ed wit h rit u a lis tic obs er van ce s and magi c cer emones, an d i t is proba bly for this re as on tha t i t o ft en tends to b e less, sub ject to v aria tion . The religiou s san ction s impo sed upon prim itive a rt an d t he comm unal na ture of the p rim itiv e cer emonie s p r o h i b i t t m s a a t i v e d e v ia t^ y n on th e p a r t o f individual petfojjmers^" The isorh yth m in 'Myth' al though i ts

from Mus ic f o r a Su mmer Ev ening ,

ge ne ral se que nce of ev ents m ay be unp redictab

to a lis te n e r,

is a good ex am ple of ri g id adher ence to p a tter n

and the ex act, r itu a lis tic Fu rther

le

rep etiti o n of i ndividual

gestures.

exa mpl es of Cr umb 's tr eatm en t of r itu a l w ill be

discussed in the analyses of Echoes of Time and the River and

Lux Aeterna, but it can be noted here that the simulation

of r itu a l in Cru mb' s m us ic h as the e ff e c t of mi ni miz ing the p o s s i b i l i t y o f any s u b j e c t i v e a n t i c i p a t i o n o f e v e n ts . B ecause of the exact repetition and uniformity of perceivable patterning, there

is no do ubt created wit

an ui\ deviat ing ri tu a lis tic i

accept *

»

any higher orderi

h res p ec t to p attern .

ng of rit

the compl et ion of

The lis te n e r can onl y

u a li s ti c event s su ch as fo r

I

s 31.

Reprod uced with permission of

Leonard MMeyer, eyer, Em Emotion oti on and and Mea Meaning nin g iinn Musi Musi c (Chicago: U niv ersity o f Chi ca go P res s, 1$S ')j], p. i i j .

the copyright owner.

Furthe r reproduction prohibited

witho ut permission.

S 3

^ .

ex amp le, the nu mb er of ex act re p e titio n s o f a p a rtic u la r se que nce

as being ar

b itr a ri ly predetermined a

i

nd be yo nd his

'

capability of prediction. The many instances of numerological patternings of rep etition

( i. e ., e xac t rep etition

s of an el ement

se ven,

eleven or thirteen times) can be taken as an extension of the element

of r it u a l in Cr umb' s music.

most no tab le example

Black

o f th is where the

Ang el s is the

numbe rs seven and

th irte e n are to be fo un d in al most a ll aspe cts of fo rmal

#

org an izatio n; the num bei of notes i n sp e c ific r hyt hmic figures, the number of repetitions of a figure within a move ment', the number of movements in the work and even in deter^

(

mman ts of pit ch structure seve n sem it ones

(the p erfe ct fif th con si st ing of

an d the minor

nin th o f th irte e n '.) . Other

works exhibit numerological patternings as well (as in the numb er of bars ^ , j

in tl ^e isorhythmic c

w ith the mdkt obvious

yc les o f 'Myth')

bu t only

re p e titi o n s

melod ic lin e into a

numb er o f sh o rter

ss tu re s).

In th e th ir d mo veme nt, howe ver, th e re emer ges am ob serv ab le

i t i i tf I s' s _i

i

success ion of

event s wh ich is

d irec tly

suggest ed in the t i t l e .

The 'Co llaps e of Ti me' is de picted in a gra du ally bu ilding ostena to cr escendo (a s the br «i ss play ers arr ive in th e ir p ro«

ce ssion al and

the w oodwinds leave)

whi ch eru pts c lim a c tica lly

in a r ecu rrence o f the s tri n g 's g li ssan do co mp lex of Ti me'

(Se e O utline of

Time a nd th e River

'Frozen

the P rin c ip a l Pass ages o f :Ech oes o f

, pag e 69 ) as i f ti me we re re p ea tin g i t s e l f .

An exam inati on of an ev en mo re el abo rate

the sco re i n th is movement re v ea ls re a liza tion

of t he image o f t he t i t l e .

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67

( i

From the opening

of the mo vement to the beg inning

is a co ntinu ally e cho ed rh yt hmic, te

of the o sti n a to

x tua l ge sture,

krek t u d a i',

whispe re d loudly by a ll of the strin g s wit h high piercin g p ia n o c h o rd s an d low gong so unds a t th e o p e n in g , b u t graduall

y bei ng attenuated u

re g is te r piano the s ev en

clu ster,

n til i t is mer el y fa in t l ow

an d a sl ig h t t arn tam stro k e.

fold < re p e titi o n

fade -out i s reversed i

of the

ost*nat o r hy thm, th is gradual

n the re g istra tio n of t he pi ano c hor ds

an d the mou nt ing .cr escend o of 'kre k tu d a i', cl imax wit h the return o o f open ing of

the mo ve me nt.

C erta inly w it h the gradu d st rin g s,

tu d a i'

hu ge crescend cl im ax.

al b u ild

these d e ta ils wo ul d g o

unnoti ced by the liste n e r, but the gen eral 'krek

reaching the

f t he pi ano c hor ds t o th e ir re g istra tio n

up of s ou nd s in the brass an

^

Th rou gh

reve rsal

of the

di mi nu en do wo uld be q u ite a pp aren t in the o a nd the ev en tual sh outing of th

is p hrase a t the

The po int a t wh ich th is rev ers al be gi ns i s sig n ifica n tly

th e tem poral gol deK mean of the whol e wor k, re fl e c tin g a combin at ion of the na

rrativ e curve

larg e sca le m usica l, dramatic the height of the a n ticip a tion

ostenato is

in the wo rk.

an d arch struc

fo rm.

In te rms of m usical

also the po

The sud de n 'rela p se ' into

The idea

(.)

ela b o ra tion

Reproduced with permission o

of a

ntinuity w

hich w ill b e dis cussed la

'co llap se ' of t ime receives

Further reproduct

.the str in g

as a m usical

fu rthe r

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ti m e,

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te r.

68

*

mu sic which is ec hoed among the br as s pl ayer s on stage and o ffstag e and wh ich is bas ed al most e n tire ly on re c alle d m aterial from e a rli e r in the wo rk.

’La st EcHoes o f Ti me’ (the im plies,

conti nues

fo u rth mo vement) .a s th e t i t l e

the ret rograded

thematic

d irec tion

of

the music, recalling isolated elements from many previous p a s sa g e s in t h e work in two e la tb o ra te echo co mplex es whifch a re followed by the concluding processionals.

.JThe difficulty in any analysis of musical time is that the actual musical experience results from a simultaneous

^

awar ene ss of the d iffe re n t lev els of fo rmal process. th e o ris ts are ti me,

lim ited to discussing one

V

erbally,

aspe ct of form a t a

un less.t he y are pre pare d to re so rt to a highl y su b jective

eve nt by eve nt de sc rip tion of a w or k. w ill be t o give a

general lis

tin g of

,

The appr oac h taken here

ti m ings and struc tur al

descriptions of the main passages as a reference to the large sca le d u ratio n and succ ession. for t he discussion

The mos t su ita b le par am eter s

of d e ta il in this

wo rk, th ea tric,

dramati c

dev el opment , te x tu ra l design , an d the hierar chy of r hyt hms, an d du ration s, w ill be anal ysed a nd rela ted

individu

ally in

terms of their respective roles in the general esthetic effect.

As ind ica ted , in th e o u tline (T abl e I I

(

)

begi ns wit h a slow ri tu a lis tic

Page 69), the w ork

proce ssi ona l (ev en the foot

steps are given in a specific pattern) in which a group of

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■t

O CD

Q. w it h

p e rm i s s io n o f t h e

c o p y ri g h t o w n e r.

F u trh e r r e p r o d u c t io n p ro h ib it e d

w i th o u t p e rm

TABLE I I ;

OUTLINE OF PRINCIPAL PASSAGES OF 'ECHOES OF TIME AND THE RIVER' (timin gs based upo n the score and rec ord ing o f the work The Lo uis ville O rche stra Un de r Jorge M est er )

' Fro zen Time'

Clock Time

Duration

0 : 0 0  1:10

70 "

by

Structural Description - tw o sup er impo se d cycles of m aterial res u lting a complex succession of recurrent timbres and

in

ge stures du es ring ic honstage the proce - in ssional ercussion gro up c om p a rt wh w ay ter rupp ted by t he 'froze n' chor d gesture 1:10-2:13

6 8“

- re p e titio n o f the preceedi ng co mp lex with sub alterations - percussion processional"joins onstage percussionists

2:13-2:25

1 2"

- resonance of low piano s trin g s foll owed by "ghos tl y b e l l s ”- a d im in uen d o se q u e n c e o f p ia n o h a rm o n ic s

:25-3:22

57 "

- two successive complexes of intense overlapping glis sando lin es in t he strin gs - fadin g out t o temolo glissandi in the basses

3:22-3:34

1 2”

- lo w resonance plus

^3:34-4:40

6 6"

- mandolin leaves stage echoing arpeggiando figure in a. slow sequence with echoes of the glass chimes and a tr emolo mel ody on the piano str in g s

is s io n .

'1Remembrance of Time' 4 :4 0 - 5 :4 7

—



...

. k

lls"

simple seque nce of ev en ts: exc hang e of sho rt ge sture s b et w ee n p ia n o s an d h a r p - p i t c h b e n d in g f i g u r e (v bph ) sound of win d and w hisp erin g of Lorca fragm ent (by brass play ers onst age) ag ainst tr il le d bac kgr oun d ambience

67"

inA llitAeBri-

— ' 11 ■■■■

“gh ostly be

tle 3

—

----- —*-

_______________

~

*— ______

a\ of negro s p ir itu a l in strings. '

10:50-11:50

60 "

seq uenc e of ev ents: "kr ek tu^ da i!" chanted twice - (se ven second t am ta m a nd l ow re g is te r piano res onance on 'd a i' on each rep etitio n ) fol lowed by a s h o r t se gm en te d x y lo p h o n e s o l o a g a i n s t tr ill e d back gr oun d amb ien ce (sleig hb ells) tr ill e d am bi en ce is then sustained th rough a hig h 'rustling ' in the strin g s (b ehi nd the bridge carpegg iati ons) an d 'wind so und ' (flu tes , cla rin e ts and percussionists)

11:50-12:50

60 "

seq uence of ev ents: "kr ek tu d ait" (o nc e) return of tr ill e d ba ck gr ou nd a mbi en ce - a re ca ll of the tr emolo an d ' ben ding' figu res in the cla rin e ts a fu rth er echo of 'kr ek tu dai* - echo of c la rin e ts by t h e e c h o e s o f k r e k t u d a i

12:50-13:20

30 "

very sl ow osten ato rh yt hm in percu ssion an d pianos rep etition s of a three role fi gure in brass a nd "k re k tu dai" in strin g s - gradual bu ild i n in ten sity an d compl exi ty duri ng whi ch t he cla rin e ts an d flu tes leave the stage in a proc ession al an d are replace d by tw o b r a s s g ro u p s

13:20-13:50

30"

strin g glis sando com pl ex - sim ilar to th at of 'Frozen Ti me' - fading o ut into a solo bass tremelo glissando

13:50-15:30

1*40"

b r a s s c i r c l e m u si c - f l u x o f m a t e r i a l o v e r la p p in g figures - some noticeable repetitions - complex dies out as eac h g ro up finish es it s m aterial with the ring ing of a fing er cy mb al

^ m

.

j i I

-n

R e p r o d u c e d

w it h

p e rm is s io n o f t h e

c o p y irg h t o w n e r. F u rt h e r re p r o d u c ito n p ro h i b it e d

w it h o u t p e rm is s io n .

'La st Echoe s of Time1 15;30-16:55

ec ho co mp lex in tric a te p h r a s e s an d g e s t u r e s

16:55-18:00

ted

ech o co mpl ex sim ilar to preceeding passage slig h t the mati c a ltera tion s and ch an ge s in pitch and i instrum entation

¥ 18:00-20:05

sup erpo siti on of isola

2 ' 0 5"

p r o c e s s i o n a l s i n w h ic h t h e b r a L s g r o u p s an d t h e n p e r c u s s i o n g ro u p s l e a v e t h e s t a g e - s u p e r p o s i t i o n of the repeated m aterials of the processional p l a y e r s a n d w h i s t l e d p o r t m e n to o s t e n a t o amon g strings

73

o

p e r c u s s i o n i s t s from o f f s t a g e g r a d u a lly t a k e t h e i r p la c e s b e sid e , the onstage pe

rc u ss io n ists .

Wit hout maki ng a c omm itment as

to the i ntended in ter p re tatio n (some lis te n e rs m ay see the event as purel y rit u a lis ti c , or others mi gh t s ens e a the a tric t

in tera c tion

of 'beckoning'

or 'search

ing ou t an d find ing ' in t he

antipho na 1 exc ha nge b et ween the o nstage

an d o ffs tag e pe rcu ssion 

is ts ) i t ca n be s ee n th at the th e a tric mo vement of the players is a goal direc ted ev ent, b earing a

n atu ral

im plicati on wh ich

raises the question, as to where the processional group is going, and a clearly recognizable and logical realization in their arrival beside their counterparts onstage.

Subsequent p

ro ce ss io n al mo vements, such a s th e see mingl y

e a rly dep artures of th e m and ol in a t the

end o f 'Frozen T ime"

and the brief appearance of some brass players who leave after whispering a Lorca fragment, can only be accepted as unforseeab le occur rances

in the general

r it u a li s ti c ,

'st rea m of cons ci ous -

j

f '

n e ss '

ord er of ev en ts.

mea ni ng of the perfor

Th ey do, ho we ve r serve to e xp an d the

mance

space,

of a tran sito ry stage presence.

and fu rth e r devel op the sen se Not only do playe rs a t th is

p o i n t a p p e a r t o be a b l e t o come o n s ta g e from

th e

'b e y o n d ',

b u t i t i s a ls o p o s s i b l e f o r the m t o r e t u r n o f f s t a g e fro m t h e i r p o s i t i o n s o n s ta g e . tra d itio n a l suggest

Th e movem ent o f f s t a g e i s a n a t u r a l an d ion of pa ttern c losure

wh ich gai ns in s ig«

nifica nc e as the wo rk progresses.

°

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p

Wi th thb .pr ocess ional entr

ance

of the c la rin e ts,

and flu te s,

(•)

if y *impli ed f n£the echoing.,

a further interaction

of a 'p itc h

bend in g * f i g u r e (a g li s s a n d o o f a q u a r t e r to n s down from af *; 1 sing le p itc h , in the fo ilin g rhyt hm: ) from the v ibra 

•"

\

\ •

p ho ne,? t o t h e c l a r i n e t s and f l u t e s a s th e y come o n s ta g e (w a lk in g . ' > • *' ‘ in the same rhythm as the bending figure) and the horns who echo the fig

u re from a’ d istan ce o ffsta g e, (s ee e xa mpl e 4, page 8 3)

The departure of the wopdwinds during the ostenato of the 'db llap se of Ti me' an d th e ir repl acem entf besi de-’ the two pianos onst age has a n inhe rent s p a tia l lo g ic and^ Lmpli cat ion of 'repe titiv e pr oces s aridform aul sym m etry . It? sho ul d be noted th a t t > the dramatic exchangl between the presence offstage and Onstage is- not l im it ed to t he pro ce ssion als.

O ff st age brass playe

make pr omi ne At in te rje c tio n s a t va rious po TheV are heard

al most as a fo

re sha dowing

\

rs

ints of £he.piece* (a low re g is te X g lis -

san do figu re ) in th e opening momenta o4 the p ie c e , and alho '. v . ; • during the circle music s q f the flutes and cla rine ts in the 'Re me mb rance of Ti m e' .

1v ' *■ P a rtic Xu la rly a t t he e nd of' tkh e brass

c irc le musi c of i dle 'Collapke of Time', the o * is heard in the fin a l f a in t ec hoi ng of a fing

ffstag e presence „ , er cy mb al c hime

.wh ich su cc essiv ely'term

the c irc le m us ic.

v

1

inates each

*

cycle of

< * *

i • , The 'Last ^Ech oes of Ti me' brin gs the th e a tric ■

# *

of the wo rk t o a meaning ful co nc lusion, fo rm and symmetr ic ba lance

dev el opment

cre atin g a type o

in th e o rd er of ev en ts.

Th e mo ve -

f an echo complex in which antique cymbal i merit beginsAwith players *'

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f arch

ri

75

(woodwind fla y e rs w ho had le f t th e stag e du riri g,the of Ti me' ) come to the >4

'Co llapse

fro n t le f t edg e of t he stage and

recede

o ffstag e again a fte r th e ir ec ho of the ope ni ng chi mes. This may he seen to^symmetrically balance thevpresence of the cymbal

A

p la y e r s who w ere a t th e back , r i g h t o f th e s ta g e d u rin g th e openi ng p ro ce ssio na l.

A fu rth e r s /a ti a l s ymm etry can be seen

in £he departure of the brass groups who cross-paths and proce ed in opposi

te directions offstag

e.

Fina ll y t he per cussi on-

V ^ is ts retrac e th e ir st eps of t he ope ni ng processional, b

,

ri nging

the wo rk

fu ll c irc le and res torin g the sp a tial o rder wh ich ex

isted

the ope ni ng.

at

The strin g s, al though the y do no t p a rticip a te in an y of ^ ■ * the professionals, have a very important theatric and dramatic t> ’ ■ identity. ■Not unlike the chorus of a Greek tragedy, they are sta tion ar y , onst age b ef &r e the dramati i t has ended.

c a ction begi

ns and

a fte r

Th eir i nten se glissa n do co mp lex wou ld appear

to b e a f o ca l po int of t he dramati

c ac tion , gi ven in iso latio n

in the opening m ovement arid as a cu lm inating p o in t in the fl bw

/

of eve nts in the 'Collapse of Time'. The strin g s sim ilarly *■ ha ve an im portant ro le in the g en era l dram ati c momentum in t h e ir intense

impa ssi on ed ent ry a fte r the c la rin e t c ircle i

' Remembrance of Time', th

e ir serene

reminiscence o

s p ir it u a l'a t the en d of ' Rememberance of Time', th

^ wh is pering of the pho

neti c frag m ent 'krek

mus ic in *>

f the

negro

e ir portenteou

tu d a i' in ' Cbll aps e

of Ti me' and* in th e ir ge ntle w histli ng of a.por ta mento figu

t

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*

f the copyright owner.

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,

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re

s

an d t he o sc ilatin g fourths

Cl

at t h e c lose of the

wo rk.

\ f

As c a n ^ e ima gi ned from the t i t l e of the wor k, the f echo' or more generally'^ various instances of repetition, recurrande an d re ite ra tio n a re to be f ound in a ll lev els of

stru ctu re from

the sequence of isolated events to the succession of longer pas4

sag es.

Exa mpl es of im med iate *echoings a re seen in both s

h o rt

gestures (see example 2, page 77, the piano string tremolo m elodi es) a nd long er line s (as in the c ir c le m usi c, ex amp le 3 , page 78) th u s c r e a t i n g a mo me ntary b l u r r i n g in th e s h o r t o v er lapp ing g e stu re s o r a m ore extended co mpl ex tex tu re in xthe sup erp osition of longer passa ge s. The mos t rea dily apparent

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m

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they do not fprm a sense of 'tempo' or rhythmic succession.

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81

S im ilarly,

o

with

two or mo re s econ ds bet ween succ

i t be comes i nc reasing

ly d iff ic u lt for a lis

essive s tim u li,

te n e r to ap pr eh en d

mo re than thre e s tim u li. (That i s , to reme mbe r, w it ho ut cou nt ing while lis te n in g , hoy many stim u li were he ard .) Alt houg h i t is d iffic u lt to re late

unco ndit ional ly th is inf or mati on~t o

the more co mpl ex co ntex t of Cru mb' s m usic, the cyclic re grasped

i t can be s een th a t

p e titiv e n atur e o f thes e^passages

w ill not be fu lly

w it hou t s ome 'stre tc h in g ' o f t| ae pe rce ptu al s pan.

The e ffe c t of th is i s , as in much of Crumb' s p attei^ jii ng , a st rong

im plicat ion of

individu

ally distin

seque nti al desi gn in the rep

c tive

ge stures, but b

eti ti on - of t he

ec aus e of t h e ir s low

p a c in g t^ e a c t u a l sim p le r e p e t i t i v e p r o c e s s e s a r e n o t a s o b v io u s bo th e l i s t e n e r a s th e y a r e yn. the score.

Robert P. Morgan has cdmmented very appropriately on the ‘^e lem en t of slo w rhythm ic pac ing in

^

Crumb' s m usic.

"Perhaps most impressive, however, is Crumb's extremely sensitive handling of the slow rhythmic p a c i n g . I know o f no com poser w r i t i n g to d ay ’’ , who is ab le to p res en t 4 uch a spa rse a nd a tten  uated- sonor ous ima ge w ithou t prod ucing a c o rre s p o n d in g s e n s e o f fo rm al d i s r u p t i o n . ' By v ari o u s* means - mos t p a rtic u la rly , I th in k , b y the spa nni ng and connecti ng of temp orall y dislo ca ted se gments t hrou gh very sim ple,, eve n obvious t im bra l and re g is tra l assoc iat ions so as t o p oint t he ear to the larger relation sh ips - he i s ab le t o ke ep the m ot ion of the piece under c on trol. Indeed , on e of the mos t in tere stin g aspects of Cr umb' s mb si c is jus fc t he ten sio n th a t a ris e s from having to w ait over su c h lo n g , spa ns ' for in te r rupted ideas to be taken up again.

C)

V

39

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R obe rt P. Morgan,

f the copyright owner.

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in Rev iew, '1975, p^ . 117.

ion prohibi ted without permission.

82

In conn ecti on w it h Morg an' s re mar ks i t can be noted th a t much of the c la rity th e ‘

of t he sequ ential

p attern ing

is du e t o

o f h ig h ly d i s t i n c t i v e ma t e r i a l s . .

.

of ind ividu al g es tu res co n trast

are

L

with the oth er ma t

The nat ure o f the

en made to stand

R e p e tit i o n s

ou t by th e ir

a ls i n th e ir imm ed iat e co ntex t.

dev iat ions

in' these

gra dual re iter a tiv e

p r o c e s s e s i s g e n e r a l l y an e x te n d e d d e c re s c e n d o , b u t in many in sta n ce s, c hanges of instrum

en tation

or p o sitio n of the sou nd

w it hin t he pe rfor manc e s pac e crea te ad d it ion al su b tletie s, and d e v ia tio n s. One go od exa mpl e of th is i s see n in 'Re me mb rance of T ime ' in t he c la rin e t a nd flu te p roce ssion al wh ere the pitch b en d in g f i g u r e i s ech oed betw een th e f l u t e s , c l a r i n e t s an d o ffsta g e 'ho rn s •

(Se e ex amp le 4, pa ge 83)

A type

of 'fo o le d '

expectation can also be seen in this passage in that the horn doe s not e ch o t he tr ei tio lo fi gu re o f the f lu te s an d c la rin e ts in the se co nd s equence, bu

t instead

re- echo es the pitc

h bend ing

figure of the earlier sequence.

I t sho ul d be not ed tha t ce rtain instances of re \n

Ec ho es o>f Time and th e River

and s o do no t imply a

itera tion

p res en t no d ev iatio n a t a ll

lon ge r ran ge p roc ess * Th is is

th e case

in the opening of 'Frozen Time* where amid the complex echoings in the g ortgs

and tam ta rns , a nd bet ween th e d if fe re n t p itch es

of ’ anti que cymbal s, th e re in the u nd eviating reg

u la rity

of t he

'Sfz attac k s in th e an ti qu e cy mba ls wh ich cre a te s the sense of a s ta tic , rit u a lis tic , un de ve lop ing su cces si on of event

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s.

p

is!

♦ Reproduced with permission

of the copyright owner.

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ion prohibit ed without permission.

p,.t &fii

84

o

The re p e tition

o f longer pass

ages ha s an im po rtant.r ole

thoug h somewhat d iff e re n t ef fe c t i n th is wor k. Ea ch of the four movements begins w ith a passa ge o r sequence o f m ate ria l whi ch is

fo ll owed i mmedi at el y by a slig h tly v aried re

the wh ole pass age or s equence. longe r passages

a r£ seen

ite ra tio n of

A dditi ona l re ite ra tio n s of

in 'Frozen Ti me ' in the immedi at e

rep ea t of the strin « and flu te ci rc le

g gli ssando

la s t t wo pass ages,

there

comp lex and in the c

la rin e t

* musi c of ' Remembrance o f Tim e'. is ver y l it t le

In these

no ti cea ble deviati

on

p

betw een t h e f i r s t s ta te m e n t o f t h e - m a t e r i a l an d other them the obvious one in the case of the circle music th a t i t is he ar d fi r s t in the clarinets a ( ,

nd t he n in th e flu tes.

S ligh t ch an ge s in i nstr um entat ion o ccu r in the re th e openi ng pro ce ssion al music

th e r e i t e r a t i o n ,

of 'Frozen Time

ite ra tio n 'o f

' and of the

open ing ec ho co mpl ex of 1L as t Ech oes of Ti me' , b u t because of th e len gth an d com plexit y of these p *5

arisons

t

assa ge s, suc cess ive c omp

wo uld onl y aris e in the listen ing

situ atio n

in terms of the general features of texture and the more distinctive gestures within these complexes. v

-

/

The op eni ng ech o co mp lex es of 'Last

'

Ec ho es of Ti me ' is 5

4

p a r t i c u l a r l y w ort h n o t in q a s an ex am ple o f t h e c o n t r o l o f p acin g 'and tex tu re w hi ch is devel oped in th is work . div ide the orbh estra o f a pe rcussion

C>

into

six qroups, thre

ist an d on e third of a

o th er * fchree co n sisting

ll the

of a pe rcu ssio n ist,

The pass ages

e o f whi ch c o n sist strin g s, and the a cym ba l player

* Jr Reproduced with permission o

-'— ■ f the copyright owner.

Further reproduction prohibit

v ed without permiss ion.



be co mes more c l e a r l y p o s s i b l e b ecau se t h e s e p a s s a g e s c o n s i s t

$ of a si mpl e tex ture and * stra ig h tfo rw a rd seq uen ce s of ev ents.

Two instan ce s of an app arent in ter ru p tion

a

range

sequen ce o f m ate ria l can be see n in ' Remembrance of Ti me'

an d in t he op en in^se qu en ces of ' Co ll apse

,vt,

of Tim e'.

Aegean

be se e n i n th e o u t l i n e o f t h e p r i n c i p a l p a s s a g e s (p age c la rin e t an d flu te c irc le m us io pass ages are m

(/ X

in th e longer

ore or less

id e n tic a l, an d e hd i n the same way/ w it h a so lo passage wt

V Reproduced with permission o

f the copyright owner.

Further reproduct

,the

ion prohibit ed without permission.

fich

86

E M I T

*1

F O S E O H C E .)

T S A 'L

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II

♦*1 A

\ \

n :

"*ivrr

& ill I si»"w#v*

Reproduced with permission o

f the copyright owner.

»!”W/I*

Further reproduct

Ho f X

ion prohibit ed without permission.

is

imm it ate d in the

low pi ano r e g is te r , and is foll ow ed b y

a l ow c lu s te r and a rap id d rumm ing p a tte rn on the tam bo urines. Where the c la rin e t c irc le m usic' conti nues into the i nten se chpr dal en try of the stri n g s, a sta rtlin g deviat ion f rom this sequenc e (whi ch wo ul d p red ict a string

rep ea t of the intense

s pa ss ag e a fte r the fl u te c ircle mu

the flu

te c irc le mu sic i n th e stark

to the foo

tstep p attern

Ti me' ) echoed

sic) is

rhy thmi c fi gures

A retu rn of

ev en tua lly f oun d in the 'remembr anc e' of in Sv s,

the fin

a l passage

of th is mov em en t.

a l onger r an ge interruption or deviati return o

f the

'krek

fe lt a fte r

in the ope ni ng proc essional

by the pianos.

the string

(id en tica l of

'Frozen

s is

the ne gr o s p ir itu a l In 'C ollapse

o f T ime- ',

on is fe lt a fter

tu d a i' cha nting .

• re p e titio n of the op eni ng cycle

ch orda l

the

Where a continued

of m ateria l wo uld p red ict t

the re ite ra tio n of

the 'high ru

st lin g ' and wind sou nd , there

a rise s a re c a ll by the c lar in e t; figu res

(ech oe s by the flutes)

ec ho es of

of i ts tremol o an d ^be ndi ng'

and the fu rthe r

atten ua ted

'kre k tu d a i'. 4

_/

S The se in stanc es of- an/app

/

arentl y cont inuous pa

ttern

b e i n g \ i n t e r r u p te d and r e p la c e d by a n o th e r fo rm o f p r o c e s s , a s w ell as the much more common in s ta n c e s in th e wor k wh ere o ne sec tion

si mply end s a nd ano ther

q u ite d iffe re n t o ne beg ins

*

can be regarded as changes in process which create a momentary d isc o n tin u ity .4 ® The interru ......................................

„

11

'

—

.............................

—

p ted or d iscon tinue ^d ^c froc es ses —

—

I

f

a

i

i<

■—

.. ................

—— ■

o 1 ► t

40. Se Leoexplana nard Meyer, on es and Meaning M usic, fo er his ti onEmoti of proc s reve rsal inintrad iti opg n .a l93 styles.

Rep roduced with permission of

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Furthe r reproduction prohibited

witho ut permission.

■■■■

8 8

( t

4 of Time and, the River

in Echoes

"V can be ex pla ine d in term s of

the ge ne ral ep isod ic dram ati c and them

ati c dev el opme nt o f the

work whi ch wAill b e discu ssed sh o rtly , b ut they « ha ve the import ant effe c t of cre ating a n unc ertainty an d an in te re st in how thd m ome ntary inte rru p tio n or disc o n tinu ity w ill

fit

into the long range design.

Ano the r inte re stin g feature

of the

p a ssa g es i s se e n in t h e i r d u r a t i o n s .

succes si on of longer The t o t a l tim e f o r th e

composition (based(^p the recording by The Louisville O rch estra

conducted

by Jorge

and fifte e n sec onds. to hear

(a nd s ee)

fi ft y and

M est er) 41 is abo ut twent y m inutes

Wit hi n th is ti me s pan, i t is possible

twel ve cle a rly

seventy

sec onds,

(s ee the durati

of the p rin c ip a l pa ssage s), noted th a t the echo int ended

42

of bet ween

on s in the o u tlin e

an d from the score, i

t can be

co mpl ex es o f 'L as t E ch oe s of Time 1 are

to be s eventy s ec on ds e ach bu t b ecaus e t he f i r s t

is ext ended

into

a sho rt epi sode

the pian o, mandoli n, c e les te and d irec tly

de fined passages

into the

('a

d ista n t mus ic1 pla yed on

harp)

an d the seco nd ex tend s

fin al proc ession als, the y do not f it into

f

41.

Echo es o f Time and the R iv e t. The L o u isv ille O rch estra JOr ge M es te r co nd . (Lo uisvill e O rchest ra f ir s t ed iti o n records. 1971 LS'IU) . 42 .

In th is a na lysis of long range d u ratio n , the osten ato an d th e foll ow ing strin g g lissan d o co mp lex are taken as o ne d u ra tio n because of t he. l ong range dy na mi c and te x tu ra l gesture (ri se an d fa ll) wh ich they for m.

Reproduced with permission o

f the copyright owner.

Further reproduct

ion prohibit ed without permission.

/

*s

8 9

th is lo ng range d u ratio n al pacing. ^ The two prol onged se c tio n s, (.3

*

»

the brass circle music and the final processionals occur! *

a t im portant po in tj s in the long

range dramatic desi

gn - a ft e r ,

the climax in 'Collapse of Time', creating a relief from.the • reg u larity

in the succession

of pa ssage s, and a t th e e nd o f

the work as a type of final elongation and closure. *

'

Gen eral ly in C rtimb 's mus ic, i t is po ssible three

d iffe re n t tex tu ra l and rh yt hmic type s:

to d isting u ish the slow

succession of isolated events, the succession of separate events but wit fa c t that the inde pendent

h some overl apping and irre

g u la rit y due to th e

se pass ages con sist o f a sup erp osition of t cycles of

m ateria l, and

th ird ly , the

wo

type of even t

complexes which is derived from the superposition of a number of cycles these

o f m ate ria l.

three types

As menti oned in the s eco nd ch ap ter,

can be re gar ded as d iffe rin g de gre es of

%

horizontal density which Crumb controls by straightforward ' ’ * co ntra pu nta l mean s. The op eni ng te x tu re of t he w ork in 'Frozen Time ' is th e type o f comp lex s equence p o s i tio n o f two c y c le s o f a c t i v i t y p e rc u s s io n g r o u p s ). there

from the su pe rk> (th e o n sta g e and p r o c e s s io n a l

A f te r th e r e i t e r a t i o n &f t h i s t e x t u r e ,

is th e ju xtap po siti on of t he si mple s eq ue nc e of th e

'gh ostly the

de rived

b e ll s ', th e i nten se strin g gli ssando c omp lex es ,

retu rn of

the 'gho

stl y b e lls ' an^t the closing

.

tex ture

which consists of simple reiterated sequences of the mandolin

{

/

p r o c e s s io n a l .

The sim p le seq u en c in g o f e v e n ts i s resu m ed in th e

s

>

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f the copyright owner.

Further reproduct

ion prohibit ed without permission.

\

r A "V

,

<

I ^

'

(

! *

*

*

90

openi ng of 'Reme mb rance of Time' w ith an in te re sti n g tr il le d * * ' bac kgr ound co lo ra tio n sh iftin g bet ween the variou s ti m bres, b u t w it h th e a r r i v a l o f th e f l u t e s and c l a r i n e t s o n s ta g e ,

^

* ' this

is interrup

ted by the dense and pulsati ng cla rin et c ircle

mus ic compl ex.

The tex ture of

th is passage incre

in de nsit y wit h the entrance of

ea ch of the

ases qu ick ly,

cla rine ts in

tu rn , re ach ing a p ea k of a c tiv ity and t hen subsiding as p la y e r s com ple te t h e i r c y c le s e l a c t i v i t y , \

the re la tiv e ly quick textures discus en try, the

fo ll o w in g t h i s i s

successi on of long er rang e events

sed e a rlie r invol vi ng the short i

re tu rn of

c irc le mu sic tex ture

.the

and

ntense s

an d the s ud de n

tring h a lt

of activity in the stark rhythmic figures drummed by the ^

piani st s. a return

The last

e p is o d e o f 'Remembrance o f Tim e' pr es en t s

to the openi

ng textu re of

the wo rk wit h the cle a rly

ringing antique cymbals and the quiet slightly overlapping ly rica l gestures

in the string s.

The openi ng df

'C ollapse of Ti

type of tex tu ra l an d t imb ral return

^

me' sim ilar ly pre sen ts a in t he succes si on of eve nts

ag ain st the t r il l e d , backg ro und amb ien ce (as in t he open in g of ^Rem embrance of end,

Tim e') .

From th is p o in t of the

events.

passages c

rea te gradual

ebb an d f low

The tex tura l bu il d of the ostena to

Ti me' beg ins almost i m perce ptibly,

the copyright owner.

in t he den sit y o f , of ' C oll apse of

ex tending ri

p ia n o re son a n c e s which accompany t he last

Rep roduced with permission of

vy

howev er , th ere are no mo re abrup t tex tu ra l cha nge s a nd the

longer

^

work to the

g h t f rom the lo w

echoes of 'kr ek tu

Furthe r reproduction prohibited without permission.

'6

H,

9 1

( ^

d ai' .

The" ev en tua l bui ld of th e os ten at o i s ca r r i ed o v e r ih

o't the string glissando complex

the intensity of the return wh idh i n turn

thin s o ut gradually to a

solo contrabass *■ glissando tremolando, thus completing an elegant longer ra nge d ynam ic a nd te x tu ra l gestu re in in the' de ns ity of

a c tiv ity .

solo hor n whic h begins the

the gradual ris

The solo bass is

*, w

,

*

q an d f a ll

fol lowed by a

bra ss c ir c le mu si c.

Aga in in th is

i

*

p assag e t h e r e i s a g rad u a l gro w th an d r e c e s s io n i n co m p le x it y asleac h gr oup in turn termB -of the

begins

and com plet es i ts m ate rial.

long ran ge development

o f th e work, th e b ras s

c irc le mus ic can be t aken as a type o f arch in

tex ture

In

form cor res pondence

and rh yt hmic ch arac ter wit h the c irc le mu sic

co mpl ex es play ed b y t he fl u te s and c la ri n e ts in 'Remembrance *!. of Time'.

The la s t ringin g of the offstage) ^

fing er c ymba ls (hear d.a lon&

a t the end of t he brass

a ft e r a sh o rt pau se , by the loudly

c irc le mus ic

}

is fol low ed

reso na nt antique

\ymbal

' chi mes of 'L a s t Ec hoes pf Time ' and th e two-ex tended echo co mpl ex es of th is movement eac h ri s in g in a ver y d e lic a te

w

complexity of events and fading directly into the f£nal p ro c e s s io n a ls .

The f i n a l p r o c e s s io n a ls i n t h e i r g e n e ra l ■***' B im ilarto the proceeding echo complexes since ,

texture are

'

*

f^V.

the y prese nt a co mpa rab le d iv ers ity of

>

m ateria l in su pe ri mpos ed t

%

cy cle s an d con ti nue the port ament o f ig u re in , a type of (

)

ostena to a ltern a ting

Rep roduced with permission of

the copyright owner.

be twe en chor use s of w histlers

Furthe r reproduction prohibited

«

>

melodic

in the

witho ut permission.

r

str in g s and the vibraphone.

(

lea ve there

As the pro ce ssion al play ers

is the fin a l thinning out

of the text Ure to th e

*

it

'

o s c ill a tin g fo ur ths among dec reasing wh ich in turn

nu mbe rs of A'st ri ng-jpl 90 ayers

fades to a n unvoi ced w h istle and

n o th in g .

-. f

fin a lly r

t f ‘ The g e n er al lin e of devel opment which Echoes ,

th e Ri ver

to

of Ti me an d

/

•

pres en ts i n t er ms of t ex ture , is a n in tere stin g on§.

The ope ning moveme nts of th e work in

'F ro ze n Time1 'an d 'Remem-

/

b ra n ce o f Tim e' p r e s e n t an a r t i c u l a t e d s u c c e s s io n o f e v e n ts ahd passages ostenato

o f co ntra sting m ate rial.

of 'C ollapse

Begi nni ng with the

of Time' , fe wg r a rtic u la te d sections

are app arent a nd the w ork progresses con si sti ng o f a gr adual a c tiv ity .

t

rise

in long tex

tu ra l ge sture s

and fa ll in the densit

In te rms of the t hematic

■' !

y of

devel opment , t he longer

textural gestures from the brass circle music to the end of the *

p ie c e p r e s e n t i n s h o r t g e s t u r e s , i s o l a t e d re f e r e n c e s t o th e m aterial and

ev ents whi ch f orme d the more ar tic u la te d succession

of the first part of the work.

Th em atica lly,* Echoes of

Time and th e R ive r is ve ry comple**.,

not in terms of the development of themes, but in the quantity of rec urre nt figu res a nd the sc ope of th e ir int eract ion.

C ertain

figures however, are worth discussing in some detail because they are m ade to stand o ut i n the gen eral a g rea ter influen ce in the tempo

tex ture

ra l d irec tion

an d so hav e

wh ich is sen sed

in the in tr od uc ti on of n ew m ateri al an d t he re c all o f m aterial

Reproduced with permission o

f the copyright owner.

Further reproduct

ion prohibit ed without permission.

p r e v i o u s ly h e a r d .

As m en ti o ned in th e i n tr o d u c ti o n t o t h i s

a n a ly si s,' Echoes of T ime and the of 'dis ru p te d ' arch

is co mp osed as^a

kind

form in whi ch the re is a s udden^ retu rn

of previ ous m ate rial cli m ax of the piec

River

(t he strin g ' glissan do co mp lex) a t t he

e in 'Co llaps e of T ime ', fol lowed b y a more

general recall of short gestures within the extended complexes of t he bra ss c irc le mus ic a nd 'L as t Ec ho es of Tim e'.

A

p o s s i b l e c o n je c t u r e c o u ld be made h e re a s t o w h eth er Crumb made a type of tra n sla tio n of the Lorc a roto s d on de su ffre e l ti empo' of t he wo rk.

Th is is

into

suggested

los arcos

the ge ne ral for mal desi gn

in t he v ariou s elements

form dev el opmen t of t he pro ce ssion als, of e a rlie r m aterials an

fr agment '

of arch

the d isin teg ra ted retu

rn

d the appar ent d isco n ti n u it y in the

recu rrenc e of th e s tri n g g lissan do co mpl ex whi ch as tCrumb has .

im pl ied i n his t i t l e of psychological relapse

’

'Co ll apse of



the gen eral fl ux of

*

m ateri als o f the c irc le mus ic. .

case s, clo se ly a ssoc iated wi th t he! of m ateria l is i | I

be no ticed

a t ype of l on g ra nge

mos t rigoro usly

episodic organization p a c in g .

T h is c o u ld

in Lux A eter na in the gradu al

(

Rep roduced with permission of

the copyright owner.

In a ll

Furthe r reproduction prohibited

witho ut permission.

118

shortening of the durations of the alternating sections, b u t an i m p o r ta n t lo n g e r ra nge p a c in g was a ls o o b se rv ed i n Echoes of Ti me and the River ( the f if ty

the

re la tiv e c on sistenc y o f

to seve nty s ec on d d uration i n the successi

on o f

episodes) and Music for a Summer Evening (the succession of four to five minute pieces leading to the seven minute •Song of R e co n c illiatio Dream Sequence apparent i

n ’ a t the en d of‘ th e work).

In

a si m ila r though m uch s h o rte r pacing b eco mes

n/ the ten to th

irtee n se co nd inte rv al of entry

be tw een th e v i o l i n an d 'c e l l o e p is o d e s th u s c r e a t i n g a ty p e of vagu e and m ed itative

longer rhyt

hm during

the extended

circle music flux of events.

In iso la te d pass age w it hin

the wor ks disc usse d, i t was

p o s s ib le to n o t i c e and stu d y C ru m b's tr e a tm e n t of v e ry sl ow rhy thm s in the seque

ntial

and g e stu ra l m ate rials . of T ime -and the

R iver,

re p e titi o n o f d istinc tive

Instan ces o f th is ab ou nd in Ec ho es b ut i t was als o observe d in Lux

Aeter aa (t he sl owly unfolding dia for a S ummer Evening

ti m bral

d ic p attern s)

an d i n M us ic

(in'M us ic fo r a S ta rry Night* in t h e

abundance of six to eight second durations and the distinc tive , re p e tition

s of the cas cadi ng ar peg giati ons an d the

Bach qu ota tion ) .

Much o f t he e ff e c t of such

passages cou

ld

be u n d e r s to o d i n te rm s o f th e c l a r i t y o f th e r e p e t i t i o n s , b u t v e r y slo w pace o f t h e s e q u e n t i a l p a t t e r n i n g w hich c a u s e s (

'

Reproduced with permission o

f the copyright owner.

Further reproduct

ion prohibit ed without permission.

(.

the lis te n e r to w ait an d e xt end the nor spa n in ord er t t> grasp the suspected pa

i

The f ou r wo rks discu ssed th e ir d iv e rs ity

*

l

ttern in g as i t un folds.

in th is ch ap ter exempli

the gen eral conce ptual

Crumb de term ines

< mal perceptua

the lar g e sc ale

fy in

free do m wit h whi ch

form an d mea ni ng in h is

m u sic.

Each e x p r e s s e s a di f f er ent

ty p e o f po6 t i c r e pr e s e nt -

a tio n .

In E ch oe s of Time and the R iver i t is

the r it u a l a nd

states of time consciousness involved in a type of continuum and th e a tr ic d ram atic for m. Musi c for a Summer Evening p r e s e n ts i s o l a t e d v i s i o n s o f a cosm ic o r d e r , w hich d e s p i t e the lack of thematic repetition between movements imply (

a ty pe of m yster ious

und erl ying

Lux Aet ecn a a lter n a tes

arch

for m in th e ir suc cess ion.

be twe en t wo e ss e n tia lly

m editat ive

b u t c o n t r a s t i n g s t y l e s i n a v e ry g r a d u a l p r o c e s s w hich ev o much of the r it u a l and sens e of temp oral expa nsi on in title .

In Dream Se qu en ce

is ver y st raigh tforw ard, [

the

f

the sens e o f po etic r ep rese ntation in the st a tic

dr on e of t he glass

harm onica and th e p ia n is s im o f l u x o f e p i s o d e s .

I t i s i nt er e s t

ing to n ote th a t both Lu x A etem a an d Dr eam Se que nc e p res en t

]

over th e ir lo ng ra nge org an izatio n proc esses

whi ch ha ve

6

I

be en noted

If

musi c:

5 \ ( I

w it hin ind ivid ua l episodes

c ir c le mus ic an d th e

in Cr umb 's

a lte rn a tio n be twee n two

d istin c tly d iffe re n t sty les (as in the 'Musi ca Humana ■ W „ aihd.the "Mus ica Mu nd ana1 a t the en d of the N ight of Fou r ('

|j

to occur

■

Moons). .

Reprod uced with permission of

the copyright owner.

Furthe r reproduction prohibited

witho ut permission.

12 0

)

Ve ry ge n era lly in

the wo rks stud ied , howe ver , Cru mb' s

two common idi om s of long ra

nge u n ity ^ th e n a rra tiv e curve

an d the arch f or m are in evidence. is fou nd q u ite

d is tin c tly

The n a rra tiv e curv e

in both L ux Aeterna

%

an d Ec ho es

of Time and the River, and the suggestion of arch form is i

--------------------------------------------------------------------------

an important aspect of the overall unity in Echoes of Time and th e R iv er and Musi c fo r a Summer E ve nin g.

Dream Seq ue nce whe re the c e n tra l o rga n iza tion

Eve n in of m ate rial

(

a co mp lex flu x of m ater ial * there

is

the

sug ge stion of arch •Vi

form in the solo drone of the glass harmonica at the beginning and end of the wo rk, a nd a sl ig h t im plication o

f na rra tive

curve in the short dynamic outburst of the piano which subsides into the pianissimo coda.

Reproduced with permission o

f the copyright owner.

Further reproduct

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is

121

A C H A PTE RI V:

SU M M A R YA N DPERS PECT I V E

It h a s b ec o m e

g eneral ly ap p are n t in

t hs i st u d y

h t at

C ru m b 's style com b in es Im p ort an t elem ent s of w h a t ca nb e d es cri b ed(u si n g a n d 'spa tial' a r e

R o ch b erg 's

im a g es

e t rm in ol og y) a s

of u m si c, o r m o d es

d o m in a ted respect ivel y

b y th e

th e t 'em p ora l' of

sub ject ive

an tici p ati on

a n dob ject ive a cc ep ta n ce of m u si ca l even ts. cuss ionof the gen eralfeat ures

a n dtyp es (

th e

p oin ts

i n teg ra tion of avari et y of

o f interes t in m u si ca l

m ater ials

offo r m a l or g an iza tio n (b o thtrad ition al a n d

a v a n tg a rd e)

w ith in a larg er hi erarc hi cal d esi gn .

th e fu n d a m en ta l n ature of

I nth e di s-

of C r u m b 's m u si ca l lan gu ag e, *

it w a s se enth a t o n e of th e p ri n ci p al h is styl e is

experi ence w h ich

C of r u m b 's

com b in ati onof adi ve rsity

m ateri al s c a nb e u n d er stoo d in ter m s

of hi s m u si c

w ith th e

p oe try

T h is is evi d en t b o thin C r u m b 's

M u c hof

ofth e ass oci at ion

of F ed eri co

G a rc ia L o rc a .

ri ch n a dh igh ly

soni c m ia g er yw h ichreflects th e d ream lik e m y ster io u s p ri m itive spi ri tu al ismof L o rc a 's

ev oca tive

a w a re n essa n d s tyl e, a n din

C ru m b 's u se of ob vi ou s repe titionsw h ichsu gges t m o r e sim pl istic p op u lar fo rm s.

Inter m s

o f'm u si cal im te, C r u m b 's

m u si c, like L orca' s poet ry, co m b in es he t m o r e spo n tan eou s a n dU n p red ict a b le

stre a mof con sci ou sness fe ef cts w ith /

th e

m i p licat ion h t ro u g hva ri ou s for m s

re pet ition of a lo n g

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r a n g e

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of re tu rna n d

des ign .

ion prohibit ed without permission.

122

In furth

e r exploring Cr

coul d be see n th a t ce rtain idi oms fi gu re prominent

umb 's m usi cal l anguage, re la tiv e ly

ly in the

it

si litpl e com posi ti onal

ba sic

p re d ic ta b ility a nd

q u a lity of

m usic al t ime w it hin ind ivid u al passages or

episodes.

Ve ry ge ne rally,

the na ture of

both

lower

leve l

and longer range p

atte rn in g in Cru mb' s mus ic re la te s to t wo 4 b a s i c m u sic a l an d p e r c e p t u a l f o r c e s , t h e s e n s e o f dy na mic form and co n tinu ity

(t he ly ric a l an d dram ati c ge sture s,

the lon ge r rang e cre sc en di and dixmnMendi and the n a rr a tiv e curve} and the sense of an ordered sequence of differentiated un it s (the rep e tit iv e or re itera tive ar ch for m).

pa tt em ings or t

The rep etiti o n of d istin c tive

ge stures in Cr

umb' s mus ic cre ates

he

m ateri all ^o r

both a n i so late d p red icta

b i l i t y w ith in th e r e p e a te d m a t e r i a l o r p a s s a g e , and an implication of a longer range sequential patterning which can b e N d is co v e re d by th e l i s t e n e r .

I t w as h o te d g e n e r a l l y

that^the very slow pacing of events in such sequential repe< titio n s in many pass ages had t he e ff e c t Nof al lowing the lis te n e r ti me to

grasp t he

rich tim b ral nuan ce of Cr umb 's

sounds, but also made the longer range sequential organization less rea

dily apparent

^caus ing t he liste

n e r to-ext end his

normal perceptual span in order to fully apprehend the sequential design.

t

/

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123

Thh nature of

the rep etitio n in suc h seq ue ntially

org an ized pa ssag es has m uch to do w ith the. sen se of temp oral dir ect ion in in di vi dua l episodes. Ex act, u nd ev iating re p e titio n s crea te the i m press ion of a s ta tic , undevelopi Gr ad ua l proc esses,

ng s uccession.

are impli ed th ro ugh varied re

ite ra tio n s \

or de viations

in recu rren t ev en ts.

A numb er of d iffere n t/

types of gradual processes were seen in Crumb's music involving simple melodic, harmonic or rhythmic developments or t he atric in

terac ti o n b etwe en player s (i.e .,' e c h o '

responses etc.) or processes of gradual dynamic growth or decay.

A fu rthe r sus pensi on of the sense of direc

ted time is

found in Crumb's music in the more complex passages which resu lt' from

the superpositi

of m ate rial. an eo us ly,

In the

(as in

on°*d if fer ent repeating cycles

case of t wo cy cles evolvi

'M yth 'of Musi c fo r a Summer Evening

the ope ni ng pro ce ssio na ls of Time and the R iver) events with o rd erin g . cycles of

the r e s u lt i s a si m ple sequen ce of

In th e case of

es but with an un

the copyright owner.

predictable

more than two super impose d

m aterial as in the inst

anc es of cir c le m us ic,

th a t o f a c om plex tex ture

events an d in whi ch ce rtain

Rep roduced with permission of

or

'Frozen Ti me1 of E choe s of

obvi ous recurrenc

the e ffe c t is

ng si m ult

of ^over la ppi ng

figu res o r g estu res spont aneous ly

Furthe r reproduction prohibited without permission.

124

*

p r o tr u d e an d a re n o t ic e d by th e l i s t e n e r .

The g e n e r a l

sense of complexity and unpredictability in the occurrence of events in passages of circle music is often accompanied > by i s o l a t e d in s ta n c e s o f r e p e t i t i o n and a s e n s e o f d i r e c t i o n in t he gr adual

ri s e and fa ll in tex ture

as the individua

l

p a r t s e n t e r and i n t u r n com ple te t h e i r c y c l e s o f m a t e r i a l .

In add it ion

to t hese basic

toc de5 o f orga niza tion,

certain other common traditional types of passages like <

the ostenato r hyt hms, the drone , various ly ric a l style s and even instances of quotation or immitation of tonal or m odal sty le s , a ris e in Cr umb 's mus ^c , ea ch ha vi ng i ts own uni que st y lis tic

tempor al q u ality wh ich is

integra ted

into a larger meaning.

Cr umb 's m usic, the re fo re , p rese nts image in wh ich a type of la

a type of

composi te

rg e r sca le pro ce ss is implied in

the succession of episodes of distinctively different m aterials and org an ization s. In the se con d ch ap ter, i t waa noted

th a t v ery co mmonly in Crumb' s m usic,

the suc cess

ion of episodes creates the impression of long range arch form or n a rra tive cu rve .

Th e 4 longer

wo rks stu die d in ch apter 3,

d i d f wit h d ifferin o f t hese

g degr ees of c la rity , re fle c t t he pr es enc e W* long er r ange idi om s, bu t in a d d itio n , m uch o f t he

grea t div ers ity in the form of. thes e pieces

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can b e attribu

witho ut permission.

ted

-

, ^

125

to the presence of other long range processes of dev el opmen t wh ich are link ed to d iff e re n t ev oc ations p o e ti c a s s o c i a t i o n s in v o lv e d in th e wit h the^p rocesses observ

ed in the

and

in d i v i d u a l w ork s. a

As

form al^organization of

individ ual ep isode s, the sense of l ong ra nge d ire c tio n f «» is dependent upon the clarity and predictability of the % p ro c e s s . E x act and u n d e v ia tin g r e p e t i t i o n s o f l a r g e r episodes cre

ate a sense of st

a tic

undevelopi ng fo rm ,

as do the juxtap^jositions of apparently unrelated episodes. i

The sense of a longer range process in Crumb's music arises very simply from the creation of noticeable differences and no ti ce ab le re latio n sh ip s be twee n episod es. ^

of lo n g ran g e d e s ig n i s t he r e f or e , one o f th e key f e a t u r e s In the analysis of the

f

The c la rit y

p a rticu lar global q

u ality of

time in .t he four wo rks stud ied in ch ap ter th re e . ■the co nsidera ble d iffe ren ce s in th e long

musi cal

Despite

range design

of

these works a common feature among them (besides the reference to arch f orm an d n arr ativ e cur ve) is the in teg ra l role of the paci ng of the longer d uration in the long r ange organization and effect.

Dream Sequence, as noted in the lower level episodic inst ance s of girc

le musi c, exem pli fi es a ty pe of s ta tic

m edi tat ive proce ss - s ta tic

in th a t-i t e x ists o n a co nsistent

ppp o r pppp dy na mic l e v e l and t h a t th e i n d iv i d u a l e p is o d e s

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%

_

----

126

wh ich a ris e spontaneousl The a c tu a l pro cess

y ar e m ore o r

le ss u n related

o f D ream Se que nc e i s obvious

scor e - the s imult aneo us supe rposit ion of t hree separate cycl

es of m aterial

, but in the listen

.

in the rep e tit iv e

ing

experience the very gradual process is only sensed in the reg ula r interv

al of entry o

f t he v io lin a nd 'ce llo epi sodes

and in certain noticeable but unpredictable repetitions of *

d istinc

tive

gestures wit

hi n the ext en de d fl ux of m ater ial .

A more rea d ily app arent lon g r ange proce ss is e vide nt in Lux Aet ema in the even tual ly pred ictable and ri tu a lis tic a lte rn a tio n between sec tions .

Integ rated

the

'Lux A eterna'

\

an d 'Mas ke d Dan ce '

into th is sim p listi c proces s ho we ve r,

is the very subtle and interesting long range development in the gradual shortening of the duration of the alternating se ctio n s, and

the tra cin g of a l on g r an ge na rrativ e cur ve.

As in the s low pace d seq ue ntial re

p e titio n s in the l ower lev e l

org an ization of Cr umb 's mu si c, the uni que e ff e c t of L ux A etema can be see n in the very transp are nt org an ization of ext remely

long du rations in

to t he gradua l proc ess.

The lis te n e r

is free to take in the spontaneous details of the individual epi sodes but ;

i

the longer

mu st stre tc h his

perceptual

spa n to

ran ge p ro ce ss.

(

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ta ke in

127

Echoes o f Time and th e R ive r and Musi c f o r a Summer S '

Ev en ing ha ve the v er y g en eral sim

ila rity

th at the y presen t

in their successive episodes radically different formal org an izatio ns an d temporal

q u a lit ie s .

In Ech oes of Time an d

th e R iver, th is was s een i n the ju x ta p o si tio n of sl ow a nd transparent echoing sequences with more complex unpredictable c ir c le music

p a ss ag e s.

Mus ic fo r a Summer Evening

p res en t's

th e c o n tras t o f ver y long a nd p red ictab le dyn am ic gesture

s

with episode s wh ich fe atu re a more se q y in tia l and dynam ical ly s ta tic org aniza ti on . Be ca us e of the ex treme co n tras t in the nature of the ind ividu al episodes, the globa l sens e of time in My sic fo r a Summer Evening

is th a t of a st a ti c

succession, but as noted in the analysis, despite the absence of thematic return in this work, there is the strong im plication of an ge stural

u n d erly ing ar ch fo rm i n th e tex tu ra l an d

cor re spondence

and bet wee n t h e s econd »

s b et we en t he f ir s t an d la st epi sodes and fo u rth .

This ca n be co n tras ted

to Echoes of Time and the River where the arch form is strongly impli ed i n the cf^ ner al t hem ati c retu rn bu t i t is no t ev ident in te rms of

the tex tu re an d orga niza tion of £ he,. ind ividu al

episodes.

|

A furth er in tere stin g point trea tm en t 6f m usical noti ced in th

Reproduced with permission o

of sim ilarity

betwe en the

ti ipe in th es e two wor ks can be

e ir in vol vemen t of st rong ly ’goal d irec ted 1

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128

^

ep isod es (the o sten ato of the 'Co llaps e of Ti me' and the Ba ch I qu otation in 'Mus ic fo r a S tarry N ight') in a larg er

f

p o e t i c m ea nin g th u s u s in g t h e 'd i s c o m f o r t ' o f c o n t i n u i t y (t o re fe r ba ck to Kramer 's rema rks c ited

in the

f ir s t

chapter) within a larger context. i

Echoes

of Time and the R ive r

'fhe wor ks d isc u ss e d in th is

pro cess .

any on e sp e c ific

Th e gen eral

in t h is w ork i s r itu a lis tic epis odes the msel ves in th

th e most comple x

of

stud y and* th e m o ss e s Is+WvT to

an y cate g o riza tion in te rms of long range

is

succe ssion of

and un predictable,

type of epis odes but the

e ir succession are highly im

plicati ve

of a long range meaning in terms of the various elements of textural and thematic return and in terms of the proc es sio n al m oveme nts an d apparent th the play ers.

e a tric

in ter a c tio n s bet wee n

In the an aly sis, i t c oul d be se en tha t

inti m ately conne long r ange arch

ct ed w it h t he p a rticu la r treatm

ent of the

for m and n a rra tiv e curve o f th is work

are the po eti c i ma ges of sta tic

'fro ze n 1 time,

a ' co ll ap se'

or tempor al d isco n tinu ity and the no ti on of the 'riv tim e' as a conti nuum w itho ut beg inning o r end. sense of ti me as wo rk in the ending (t he gen eral (

1

cont inuum is

im plied i ri th is

an d the dep art ure

t h e r e i s an e le m e n t p f o p e n n e ss an d ^

\

Reprod uced with permission of the copyright owner.

su re

of the

&

:

(

Much of the

wher e de sp ite th e elements of clo

themati c return

p ro c e s s io n a ls ) !

an en dless

e r of

Furthe r reproduction prohibited withou t permission.

^

/

12 3

'/

i

(

co n tinu ity in the in

trodu ction of n ew thematic

m aterial

and in the fact that there has been no suggestion of arch for m return in te rms of t he tex tural organ izati on of t he la st movement.

>

In placing Crumb's music in perspective with other sty les o f t he av ant-garde,

two in te re stin g compa riso ns

can be ma de .

in the second

As m entioned

c h a p te r, Joan o

Kunselman-Cordes has discussed Crumb's music along with that of several other contemporary American composers as a reflec tio n of so me of the

fe a tu re s of

'monumenta li sm' whi ch is

c h a ra c te ris tic o f the mus ic of Ch arl es Ive s. co mpos er s, t he 'str eam of con

sciousness' na

^

Among these rrative-d

.

.

conception of musical form is found significantly in George R och berg's Mu sic fo r the Mag ic T hea tre

ram atic

.

(1965) in whi ch ther e

is a thematic and theatric treatment of this musical time sim il ar to t he p o etica lly conc ei ved org anization of m which was see n in Crumb' s Ech oes o f Tim e and the 'Music fo r a S ta rry N igh t' of Mus ic fo r a

ateri als

R ive r and th e

Summer Evening.

Ro chbe rg' s c omm ents o n Mu sic fo r the Mag ic T hea tre re fl e c t much of the same general conceptions of time and form th a t w as discussed

in con nection with Cr

umb 's music.

"Ev en thoug h o th e r com posers (V are se, W eb M ahler, Beet hoven) a re qu oted , my prim ary / in te re st w as no t i n a r aw or lit e ra l p resentati

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, on

130

of a variety of sources, but rather in the p r o j e c t i o n o f an a lm o s t c in e m a tic s e r i e s o f shifting nevertheless comb ineideas in a and n inelevels v itabwhich le fashion , d esp it e sharp combinations and paradoxes to produce a to ta ]/u n ity . In it s co mbi na tions of the past and present, of seemingly acci de nta l , u n rela ted ima ge s wh os e pl acement in the str eam of t ime obeys no ap pa rent lo g ic , the work partakes of the state of dreaming - whether asle ep or aw ak e; an d -l ike a ll dre ams, i t becomes a f a n t a s y , a f i c t i o n o f th e m in d, nontheless rea l." 48

if

While this is not the place for a detailed analysis of this work , f t is of in

te re st to note s ome sim ilar ity in

com posit ional id ioms invo lved in Cr um b's sty le.

th is wo rk with those o

The ju x ta p o sitio n of dispa rate

in sub tl e tr ansi ti ons or shar

the

p co n trasts is

f

el ements

inti m ately linked

to an underlying theatric narrative meaning which Rochberg has m ade e x p lic it in the study score intr od uctions to the

three ac

ts

in the foll

ow ing

of the wo rk.

Ac t I: ' - "in whic h "t he pre se n t and p a st ar^ a ll m ixed u p .... and i t is d iff ic u lt t o deci de or know wh er e r e a lit y is ." Ac I I : -be"in a whi w itthe h i ts no tstalgic u ty ch ... athendpac astllshaunts to u s us from deeps and inner spaces S i hea rt a nd m ind .. . b u t th e p a s t i s a l l shad ow an d dr ea m in su b sta n tia l. . . an d we don1 1 hol d o n to i t bec aus e t he p resen t is too pres sing ." Ac t I I I : - "in w hi ch we re a lize tha t only the present is re ally b ad .. . be ca us e i t is a ll w e have, b u t in the en d i t too is shado w and dream and d i s a p p e a r s - i n t o w h a t? H

, t ! > 1

Reproduced with permission o

*

48 .

Geo rge Rochberg. Musi c fo r t he Ma gic T h e a tre , (New York ; De sto C.M.S. Reco rds", 1975 DC n o te s on re co rd c o v er .

49 .

Geor ge Ro chberg,

Music fo r th e Magi c T h e a tre , (Br yn Mawr

P e n n s y lv a n n ia ; T heodore P r e s s l e r , 1 9 6 5 ).

f the copyright owner.

Further reproduct

ion prohibit ed without permission.

Sim il arl y, (

the i nterac

ti on of musi ca l the atric e

is po rtray ed as wa s observed of the succe

ssi on of

in Cru mb' s m usic,

episodes as

n tities in th e pacing

w ell as th e ir occ asiona l

superposition and in various correspondences in pitch and instrum

en tati on s ome of the va rious

in te re stin g fea ture in th sev era l o f Cr um b's pieces i cance

of a n extended

m a ter ia ls.

is wo rk wh ich is

also f ou nd in

s the dramati

passage or

c an d po etic s ig n ifiI piec e w ithin a wor k. In

Crumb' s mu si c, th is wa s o fte n observed or passage of

Anoth er

a wo rk (a s in the

in

the fi n a l m ovement

'Son g of R ec o n ciliatio

n ' of

Music fo r a S ummer Even ing o r th e ' Musi c f o r th e En d o f Ti me' or V ox Ba lanae) b u t in Ro ch berg 's Mu sic fo r the Mag ic T hea tre i t is the s ec on d ac t,(co n sistin g al most e n tire ly of a r ew or k$ ing of Mozart's Divertimento K. 287), which constitutes a i sim ilarly ext ende d du rati on , represe nting th e captiva ti ng b e a u t y o f th e m usi c o f t h e p a s t .

In re la tio n to Crumb an d Roch berg' s th e a tric ci nem at ic' use of con t ras ti ng sty listic

or

m ater ial s i t is

'al m ost inte r

esting to make note of an observation made by Jonathon Kramer on the

role o f th is ele ment in wh at he fee ls to b e a 'glob al

sta tic ism ' in c ont emporar y musi c whi ch is the ju x tap o sitio n of highl y co ntrasti

achie ved t hrough

ve musi ca l m ateri als

and organizations. "My asse rti on th a t st aticism is rela tive to context is su ppor ted by sty listic a lly ec lectic music such as W il liam Bolc om's F res co es , some of the music of Peter Maxwell Davies, George 50.

Se e foo tno te 14 of ch ap ter one.

s Rep roduced with permission of

the copyright owner.

Furthe r reproduction prohibited without permission.

Roch erber g's Thir d Q u arte t, or to g o bac k to th e source, several works of Ives such as the two p ia n o s o n a t a s , P u tn a m 's Camp o r p a r t s o f th e Fourt h Symphony" In a l l of these p ie c e s, there ar e tonal se ctio n s al ongside nont onal p a s s a g e s . T o n a lity i s h e a rd as a p o s s i b i l i t y o f the pa rticu lar com posi tion, but surely not a s i ts univer se of disc ou rse. The re su lt is tha t the tonal sections are rendered static by co^Jrast with the various nontonal surroundings. Although Crumb's music presents the same contrast of highly d istin c tiv e and apparentl c h a ra c te ris tic of the i t do es no t

y u nrelated m

aterial s w hi ch are

moment fo rm pieces whi

represent t

ch K rame r d iscu sse s,

he s ame sta tic an d d irec tion less

glob al con text whi ch Krame r observes of

th is m usi c.

S im ilarly,

in comparing Crumb's music with Rochberg's Music for the Magic Th eatr e i t ca n be noted th

a t Rochberg'

s wo rk makes in te re sti n g

use of a theatric program, but presents an essentially non directed image whereas Crumb's music makes more perceivable reference to long range musical processes and idioms of coher ence i n t he jux tapp osition o

f m ate rials,

and ap paren tl y

les s system ati c u se of t he th e a tric pr og ram.

The-presence^in Crumb's music of both the gradual p r o c e s s and th e a l l u s i o n to r i t u a l e x p e r ie n c e i n v i t e s a more contrastive comparison with the music of Steve Reich. In mu ch o f R eic h 's music

(Four O rgan s, Dr umming)a sl ow and

gradual process evolves through repetitions of simple tonal

51.

Reproduced with permission o

Jon atho n Kramer, " Moment Form in Tw en tieth Century M usic, " The M usi cal Q u a rter ly , (1978), p . 1 83 - 184.

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Further reproduct

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133

p a t t e r n s , which s y s t e m a t i c a l l y become tr a n s fo rm e d in way s wh ich become highly

pre dic table

to the lis te n e r.

R eich's

own comments on the gradual process of his music are p a r t i c u l a r l y w ort h n o t in g : rung to an extremely gradual musical ''op en s my ea rs to i t , bu t i t al ways f a rt h e r than I caiTTaear ancT th a t makes i/t interesting to listen to that musi ca l proces s ag ain I be g in't o perceive the&e minute details when I can sustain close men tion an d a- g rad ua l pro ces s in v ite s my su s tained a tte n tio n .. By "gradua l" I mean extrem ely ^gradual ; a pro ce ss happ ening so slow ly and graduall y that liste n in g to i t res emble s wat ch ing a minut e hand on a watch - yo u c an pe rce ive i t moving af te r yo u stay w it h i t for a w hile." In comp ari son, sim ila rly

the very s ^ w rh yt hms of

Cru mb' s n ^s ic

tend t owar ds dimensi ons whi ch extend fa

th e /e a r ca n he ar,

rth e r th an

an d sim ilar ly put a n empha si s u pon t h e

uni que an d su b tle q u a litie s of soun d wh ich Crumb c re a te s in h is music.

In t erms of a lon ge r ran ge proc ess Lux A etem a

an d Dream Se qu en ce

pre sen t the

sl ow mo veme nt whi ch c an only be

lis te n e r w it h a sense of f e l t with su sta in ed clo se

a tte n tio n much like the m ore mechanic al a nd un de viating p r o c e s s e s o f R e ic h 's m u sic . A v a lu a b le g e n e r a l o b s e r v a t io n on the

re c e n tin te re st in gradua

l m usi cal processes has b

ee n

made by Roger Reynolds in his description of what he terms the

52.

Reproduced with permission o

"close perspecti

ve"

of m usi cal experience.

Steve Reich, W rit ings Abou t Musi c, (H alifax : P res s of the Nova Scotia College of Arts and Design Publication 1974), p. 11.

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134

t

(

"I n the v isu al metapho r, the close pe rspec ti ve would involve the relative enlargement/of event size and the consequent slowing down of the whole p ro c e s s o f r e c e i v i n g and e v a l u a ti n g co mpone nt it ems in a ofsucp cess TheRohu geo co fie nldseen ■ canvases a in teion. r Mark thk ar elorofte d elibe rately hu ng s o th a t i t is impossi ble t o step ba ck fa r e no ug h t o gai n s u ffic ie n t ph ysic al d istan ce -to taka in t he w ho le a t on e glance. Unable to register instantaneously the p r o p o r t io n s o r c o l o r b a la n c e s o f t h e w hole in the ways a painting is usually apprehended, the vi ewer is forced to sear ch visu a lly an d store impressions in time with a perhaps capricious b u t n o n e th e le s s s p e c i f i c c h ro n o lo g y . One has t h i s fe e lin g in La Monte Young's "The T o rto ise , His Dreams and Journeys" and in some of the njusic of Te rry R iley and Steve Reich wher e an extrem ely close perspe ctive is u se d ... The pac e of evolution in th ese work s i s sl owed d own to a degree th a t "events" as musicians normally think of them do ho t seem to e x is t. .. . S ligh ts nor mall y "unimp ortant " d e v iatio n s w ill assum e a new status."

*

The interesting feature of contrast between R eich 's mus ic a nd what coul d b e considered

i

in Crumb's st apparentl

y le

'pro ce ss p ie c e s'

(Lux A eterna and D ream Sequences)

y oppos ite nature of th

e ir m u^cal m

is the

ateri als -

Reich's use of mechanical uniform objective sounds and Cr umb 's use of a l yrica ], ric h ly sub jective t imagery.

an d conn otati ve

"!>

53 .

j '

Roger Re yno lds, Mind M ode ls, p . 2 0 7 -2 0 8 .

(New York, Pr a e g a r, 1975)

(')

Rep roduced with permission of

the copyright owner.

Furthe r reproduction prohibited

witho ut permission.

13 5

In co n clu sio n , a f ew remarks t

‘

ca n be made rega rdin g

th e r e l a t i v e m e r its o f th e p e r s p e c t iv e o f 'm u s ic a l t im e ' in the an aly sis of

contemporar

in th is study has very si of the basic ele

ments

The approach

taken

mply been to give an account

of sty le and

whi ch ca n b e taken to co and t hen to analyse sp

y music.

stru c tu ra l proce dur e

n stitu te a gi ven m usi cal l ang uag e, e c ific wo rks in t er ms of th e p a rtic u la r

,elements which give rise to the subjective anticipation of ev ents

( i. e . a sense

of p rocess

co ntrib u te to a n o bjec tive a n ticip a tion .

o r dev el opment ) an d those whi ch

accept ance of

Given the g rea t v ariety

even ts w it hout of musi ca l l anguages

in c ont empora ry musi c, th is p ers p ec tive ,as purs ued her e (and

<

no tably elsew

here in th e w ritin g s o f Mey er , l a Rue , Na rmou r,

Kr ame r e tc .)

o ffe rs a v iab le middl egr ound be twee n the

extremes in the analysis of musical structure and the descrip t i on of

esthe ti c e ffec t.

It is pa rt icularly

suitahle

for the discussion of styles like that of George Crumb which create a new context for traditional formal organization^ sit resulting in a distinctively different sense of tonal order in music.

In studying the

e sth e tic e ffe c t and sens e of m usi cal

p r o c e s s e s i n i n d iv i d u a l w o rk s, i t h as a l s o b ee n p o s s i b l e to re la te c e rtain I ■

;

fi nd ings in experi

m ental

ps ych ol ogy

( p a r t i c u l a r l y th o s e p r e s e n t e d by P a u l F r a i s s e i n t h e

f i

f Ii I 1 £

%

'N Reproduced with permission o

f the copyright owner.

Further reproduct

ion prohibit ed without permission.

Psychology

o f Ti me) rega rdin g the fundam ental per-ceptual

tendenci es and ^i n seq uence .

the v er y basic a

b ility

to a ssoc iate events

Th ese finding s a nd fu rth e r rese arc h in th is

area c an be of p a rticu lar in te re st i n the st udy of

musi cal

time from a more compositional view point since they offer

V «k

some insig h t in ob jectifying

the per ceived

One f in a l advantage whi

e ffe c t of c erta in

ch can be suggested

in pursu ing

and developing the perspective of musical time is that it p r o v id e s a b a s i s f o r th e d e s c r i p t i o n of th e n a tu r e of t he ac ce ssib il it y of d iff eren t s tyles

to thei r audi ences .

■\

The p a rtic u la r musi cal log ic by whi ch co n tinu ity an d dis)

co n tinuity of

is under st ood i n C rumb 's sty le ca n be re la ted

compa ra bl e but dive rgen t sty le s like those

to tha t

of St eve

Reich or George Rochberg in developing a more general under st anding o f the st y lis tic are of

influenc

d irec tion s and tendencies

e in cont empor ar y a r t j nus ic.

\

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ion prohibit ed without permission.

wh ich

w

# 137

(?,

'

B I B LI OG RA PH Y

Borwi ck, D. "T he ins tru m en tal th e a tre pie fie: An in tr o  du ctio n to form and a n a ly s is ." Woodwind Wor ld an d B ra ss, X V, 4(19 76 ), 35-36 . B re let, G isele. Temps e t Mus iqu e: e ss a i d'une es the tiqu e nou vell e de la m usi que, P a ris : Pub li c'at ions (Jniversitaires de France, 1949. C h a te rje e , M arg are t. "Towa rd a Pheno menol ogy of Time C onsc iousne ss in M usic," D iogenes, LX XIII (Spring 1971), 49-56. Ch at ma n, J . "Cr umb' s M adri gals Book I I I , a lin e a r a n a ly sis," In Theo ry Only, II (De c. - Ja n ., 1975-1976), 55-79. C h ild s, Barn ey. "Time and Music: A Co m poser's P e rsp e c tiv e s of N ew M usic, X VI (Sp ring and 154 - 5 1 9 :---------------------

View ," F a ll , 1977 ),

Cob b, C a rl.

Twayne

F ed er ico G arc ia L orc a.

New York:

Publishers, 1967. Cog an , Ro bert, an d E sco t, Po zz i. Sonic D esign. C liffs, N .J. : Pren ti ce H all , 19 76 .

Ing le wood

Drew, J ames. "In fo rm atio n, Spa ce and a New Time D ia le c tic ," Jo u rn al o f Mus ic T heo ry, XII (1968) , 86-103. E rickso n, R ob ert. "Time R e latio n s," V II (1963 ) , 174-1 92. Eme ry, E ric . 1975.

Temps e t Musique.

Jo u rna l of Mus ic Theo ry,

P a ri s :

E d ition s L'Age d'Homme,

F ra iss e , Pa ul. The Psy chol ogy of Ti me. T ranslated L e ith . Londo n: Eyr e and Sp ottisw oo de , 1964 . .F ra s e r , J.T . e d . The Vo ices oi; Time . B ra ziller , 1 966.

New York :

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F ra n k en ste in , A lfre d . "Ge or ge Crumb: Echoes of Time and the R ive r," in Reco rd s in Rev iew. G reat B arrington Mass.: Wy eth P re ss , 1972. H all-L ew is, R ob ert. "Geor ge Crumb" N igh t Mus ic X," P ers p ec tive s of New M usi c. II (F a ll —W inter, 1963), I4rf5i:— --------------------Kowzan, Tsad eus. "Mu sic and the P la s ti c A rts: in Conq ues t o f Time and Sp ace ," D iogen es, LXXI II (Sp ring 197 1), 1-1 5 .

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Kra mer , Jon atho n. "M ulti ple a nd N on linear Time in B eetho ven 's Opus 135," P ers p ec tive s of New M usic, XI, 2( S p rin g Summer 1973), 122-143. "Moment Form in Twentieth Century Music," M usic al Q u a rte rly , LXM (1978) , 177-194. Ku nselm an-Co rdes, Joa n . A New America n Development in Music: Some c h a ra c te ris tic fea ture s extending fr om the legacy of Ch arl es Ive sT Unpubl is hed Ph. D. d is s e rta tio n , Lou is iana S tate U niv ersity, 19 76 . L ang er, Susa nne . F e eli n g and Form: S c ri b n e r, 19 5TT "

A theo ry o f A rt , New Yofk:

, ed . R e fle c tio n s on A r t. New York : Hopkins Press, 1958.

John

________________

La Ru e, Jan . G uid eline s fo r S tyle A n a ly sis . W.W. N o rto n , 1 970 . Lend vai, Erno. Bela B artok: An A na lysis London: Kuhn and A v e ril , 1971. L ig e tt i, Gyorgi. "Me tamo rph os es of M usical R eihe , VII (196 0), 3-22.

New Yor k:

of His M usi c. For m,"

die

Meyer, Leo nard, B. Emoti on and Mean ing in M usic. University of Chicago Press, 1956.

Ch icago :

_ _ _ _ _ _ _ _ _ _ _ _ _ _ M usi c, th e A rts and th e I d e a s . University of Chicago Press, 196"?. Moews, R o b er t. "Musi c fo r a Summer E ve ni n g," Q u ar ter ly , LXII, (1976), 293-3 02.

C hic ago:

M usical

Mor gan R obBert, ," P in G,reat arrinP.g ton"Crumb, , M ass. Ge ; orge Wyeth re ssRecords , 1 975 . in Review, Narmou r, Eugen e. Beyond S c h en k eris m . C h ic ag o : Chicago Press, 1977. O m stein , Ro bert. On the Exp eri ence o f Ti me. Md. : Pe ngu in Books, 1969.

U n iv e r s ity o f B alt imo re,

P erry , R o sa lie. C harles Ives an d the Ameri can Min d. Ohi o: Kent U niv ersity P re ss, 19V 4.

Kent,

P o llin , A lice , e d . A Conco rd anc e to th e Pla ys an d Poems of Fede ri co G arcia L orca. Ith a ca , tfr.Y. : C orn ell U nive rsit y Press, 1975.

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f the copyright owner.

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139

Reich,

Steve .

W rit ings

Ab ou t Mus ic,

of th e N o v aS cot ia C ol leg e

H alifa x , N .S.: o f

Press

A rtsa n dD esi g nP u bl icat ion s,

1974 . Rey nolds,

Ro ger.

Mind M odels.

New York:

P ra eg er , 197 5.

Rochberg, Ge orge. "The New Image o f M usic," P e rs p e c tiv e s o f New M us ic, I I (Spring-Summ er 196 3) , 1- 10 . Rosen,

C ha rles. 1975.

Arnold

Schoenber g, A rnold. Library, 1950.

Schoenberg.

S tyle

and Id ea .

New York:

V iking

New Yor k:

P re ss ,

P hilo so p hic al V

de S elinc o u rt, B as il. "Mu sic and D uration ," in R eflecti on s on A rt . e d ite d by Susanne K. L an ge r. New York: John Hopkins Press, 1958. S m ithe rs, Ho ward,, E. Century 54-88.

M usic, "

"The Rhy thmi c A n a ly sis of Tw entieth Jo ur na l of Musi c Theory,

Stoc khaus en, K arlheinz. "Structure a d ie R eih e, I I , (1956), 64 -!75.

V III (196 4),

nd E x p erie n tial

Ti me, "

Strav insky , Ig o r. P oe tics of M usic in the F orm of Si x L esson s. tr a n s la te d by A rt hur Knod el an d ±ngo£ , Dahl . Cambr id ge, M ass.: Harvard U n ive rsity P ress , 1947. V arese, Edgar d. Le s C ahiers

"Le Poeme E lectro niq ue L e C orb u sier," Forces V ivre s. E d ition s de M inuit , 195 8, 1 92 .

W emick, J . "Crum b, George," in D ictio n ary of Cont empor ar y M usic, e d ite d by John V inton . New York: H.P . Du tt on and C o ., 1974. Wol f, C h ris tia n .

"M ov em en t," die R eihe , I I (1956),

Young, Howard, T. The_ V_ icto x pp re _ _ _ _ _ rio u s EEX I ssio n . u n ive rsity o f Wi sc ons in Press, 19 64 . Xenaki s, Ian n is. , M usique-A C asterm an n, l9 7 T \

rchit ecture. ! 7

Madis on:

To um ai: *

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E diti on s

DISCOGRAPHY

Crumb, Geor ge. A ncien t Voices of C h ild re n . Jan de G ae tan i, mezz o; ..Mich ael Nash, tr e b le ; Contemporary Chamber En sem ble, A rth u r W eisberg cond. 'Non such 7/2-5*5* n o te s by th e co m p o ser. Echo es of T ime and th e ’R iv er . L o u isv ille O rch estra, Jorge M es te r con d. L o u isv ille LS 71 1. r

Lux A ete rna , Dream' Seq uenc e, Four N oc turn es. Jan de G ae tan i, soprano; Penn Contempora ry P lay ers , R icha rd Werni gk cond. Aeolean Chamber P la y er s, Lewi s Kap li n d ir ’., Le wi s R ose nb lit h, v io lin ;. Da vi d Ha ge n; p ia n o . Colu m bia Ody ssey Y 352 01. ____

'

_

M adrigals, Bk. s I-IV. E lizab eth Sude rb er g sopran o, Dav id Shrader pe rcu ssio n , F e lix Sk ow ronek f lu te , Pamel a Vokol ek h a rp , W. Ring er Warne r dou ble b a s s . T o urn ab o u t TV -345 23 .

_________

J ~~

N ig h t ,of Fou r Moons, Vox Balanae. Gaetani* mezzo * The Aeo lean Chamber P la y e rs . M*32739, n o te s by th e compo ser.

Jan de Col umbi a

Musi c fo r a Summer Ev en ing . G ilb e rt Kalish, James Freeman piano, Raymond Des Rosnes, Richard F itz pe rcussion . No nsuch 9 /3 // , no tes by the co mp os er, Rochb