UNIVERSITY OF CINCINNATI

Transcription

1 UNIVERSITY OF CINCINNATI Date: 11-Aug-2010 I, Benjamin Michael Downs, hereby submit this original work as part of the requirements for the degree of: Doctor of Musical Arts in Piano It is entitled: A Critical Narrative Interpretation of John Corigliano's Etude Fantasy Student Signature: Benjamin Michael Downs This work and its defense approved by: Committee Chair: Steven Cahn, PhD Steven Cahn, PhD 8/17/

2 A Critical Narrative Interpretation of John Corigliano s Etude Fantasy A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Division of Keyboard Studies of the College-Conservatory of Music by Benjamin Michael Downs 53 Gould Rd., Centereach, NY (513) benjamin.downs@gmail.com M.M. University of Illinois, Champaign-Urbana, 2006 B.M. Bob Jones University, 2004 Committee Chair: Steven J. Cahn, Ph.D.

3 ABSTRACT This study comprises a three-tiered interpretation of John Corigliano s Etude Fantasy. First, the formal properties of the work are analyzed using set theory. Second, the work is analyzed using Byron Almén s recent semiotic theory of musical narrative. Lastly, in a mode of critical reflection, the study critiques the narrative suggested by Almén s theory and offers a revision employing the aesthetic theories of Theodor Adorno. Adorno s aesthetics and philosophy of negative dialectics is based upon the notion of non-identity. For Adorno, both thought and music are fundamentally a movement ( Bewegung ) without coming to a false absolute. This movement precludes any achievement of static arrival or conclusion into a single, unified, positive conclusion. This study uses this notion of non-identity to critique and modify Almén s theory of musical narrative and construct a musical narrative particular to the Etude Fantasy. ii

4 Copyright 2010 by Downs, Benjamin Michael All rights reserved iii

5 ACKNOWLEDGMENTS I am grateful to the many people who have helped me along the way, freely giving of what they know so that I can know. I thank especially Professor Steven Cahn who has mentored and guided me in my studies in theory, history, and aesthetics, introducing me to the meaning of scholarly enterprise; Professor James Tocco, my eversupportive piano teacher; Professor Jenefer Robinson of the philosophy department who was always willing to give of her time for individual study; and Rebeccah Parker Downs, my wife, who has been my constant encouragement. iv

6 CONTENTS ACKNOWLEDGEMENTS LIST OF FIGURES iv vii Introduction 1 Chapter 1: Formal Analysis Synchronic Analysis 5 The Five Primary Motives Diachronic Analysis Etude no. 1: For the Left Hand Alone 11 Digest of Motives Used 12 Parsing of Form 13 Dramatic Trajectory of Movement 14 Linkage Between Formal Zones Etude no. 2: Legato Etude no. 3: Fifths to Thirds Etude no. 4: Ornaments 27 Modular Construction 27 Formal Diagram 29 Link to the Fifth Movement Etude no. 5: Melody Summary and Large-Scale Form 36 Chapter 2: Semiotic Interpretation Summary of Byron Almén s Theory of Musical Narrative Modified Semiotic Interpretation of the Etude Fantasy 42 Chapter 3: Ideological Critique and Revision The Moral Dimension Objections and Solutions 49 v

7 3.3 Summary 55 CONCLUSION 56 BIBLIOGRAPHY 57 vi

8 LIST OF FIGURES 1 Motive R, John Corigliano, Etude Fantasy, mvmt. 1, P1, L1 6 2 Motive O, John Corigliano, Etude Fantasy, mvmt. 1, P1, L Motive X, John Corigliano, Etude Fantasy, mvmt. 1, P1, L2 7 4 Motive Y, John Corigliano, Etude Fantasy, mvmt. 1, P2, L Motive I, John Corigliano, Etude Fantasy, mvmt. 1, P2, L3 8 6 Motive R, normalized register 8 7a Motive X, original order, normalized register 9 7b Motive X (013467) as pair of (0134) tetrachords, OCT 0,1 9 8a Motive Y, original order, normalized register 9 8b Motive Y (013467) as pair of (0134) tetrachords, OCT 0,1 9 9a Motive I, original order, normalized register 9 9b Motive I (013467) as pair of (0134) tetrachords, OCT 1, Icy melody, motive I All complete statements of motive X All statements of motive Y All statements of motive I All statements of motive O Motive I shifting to E-flat, Etude Fantasy, mvmt. 1, P4, L2, M Motive X, Etude Fantasy, mvmt. 1, P2, L Elision of motive X to motive Y, Etude Fantasy, mvmt. 1, P3, L Motivic transpositional levels between A and A1 of mvmt Motive Y(3); Etude Fantasy, mvmt. 1, P5, L1 18 vii

9 20 Motive R(4); Etude Fantasy, mvmt. 1, P5, L Motive X with pitch content of motive I; Etude Fantasy, 20 mvmt. 1, P7, L4, M4ff 22 Elided motives R and I; Etude Fantasy, mvmt. 1, P8, L Final denouement of movement 1; pitch centers and motives together Linkage between A and B; Etude Fantasy, mvmt. 1, P3, L Ostinato thirds forming (0134) with motive I; Etude Fantasy, mvmt 1, 23 P4, L1, M Linkage between A1 and B1; P5, L Broken thirds forming (0134) with motive I; Etude Fantasy, mvmt. 1, 25 P5, L5, M3 - P6, L1, M4 28 Motive I; Etude Fantasy, mvmt. 2, final 3 measures Fourth movement form diagram Motive Y; mvmt. 4, mm Motive O on B-flat; mvmt. 4, mm Motive O on E-flat; mvmt. 4, mm Junction between A1 and B1 in mvmt Junction between 4th and 5th movements A and B section motives and tonal implications, mvmt. 5, mm Mvmt. 5, mm Intervallic relationships between pitch centers throughout Northrop Frye s taxonomy of archetypal myths Byron Almén s taxonomy of archetypal myths Modified taxonomy of archetypal myths 45 viii

10 Introduction John Corigliano s Etude Fantasy, like many of his works, resists a single analysis with conventional analytical tools. This fact often results in his works receiving nothing more than a cursory formalist analysis. The four published analyses of his Etude Fantasy typify this approach: they merely repeat the information that Corigliano includes in the introductory notes to the piece with only minimal further analysis Indeed, his works are difficult to analyze because they avoid using one particular compositional style in a clear way. Because of this stylistic heterogeneity, the works resist being explained into a particular system, but they can sometimes be interpreted by systems. In this document I will interpret his work using multiple systems. More specifically, I will approach an interpretation through a three-tiered analysis. First, I will conduct a quasi-formalist analysis, quantifying the acoustic phenomena of the work using set-theoretical concepts. Next, I will conduct a narrative analysis using Byron Almén s theory of musical narrative, a recent work which prescribes narrative listening strategies 1 Janina Kuzmas, Unifying elements of John Corigliano's Etude Fantasy (D.M.A. diss., The University of British Columbia, 2002). 2 Jungwon Moon, The etude for piano in the United States of America in the second half of the 20th century (D.M.A. diss., Boston University, 1999). 3 Beverley Singleton Simms, The solo piano works of John Corigliano: Etude fantasy (1976) and Fantasia on an Ostinato (1985) (D.M.A. diss., University of North Texas, 1990) 4 Victor V. Bobetsky, An Analysis of Selected Works for Piano ( ) and the Sonata for Violin and Piano (1964) by John Corigliano (D.M.A. diss., University of Miami, 1982) 1

11 through the archetypical narratives of tragedy, romance, comedy, and irony. 5 Finally, within a mode of critical reflection (meta-theoretical), I will, using Theodor Adorno s philosophy of music, demonstrate the inability of standard narrative schemes or formalist quantifications to satisfactorily account for the meaningful form of the work and will suggest a constellation of alternatives that track the work more convincingly. 6 James Tocco, a concert pianist and friend of John Corigliano s, commissioned the Etude Fantasy in It was to be performed for the Bicentennial Piano Series of the Washington Performing Arts Society the following year. The inspiration for the work was Tocco s performance on February 22, 1975 at Alice Tully Hall. For an encore, he performed the Etude for the Left Hand Alone op. 36. Though Corigliano could not recall the exact piece, he cites Tocco s performance of this virtuosic but lyrical etude as the inspiration for his writing. He was especially interested in the idea of turning the standard role of the hands on its head. While ordinarily, the right seems stronger...and the left hand seems more accompanimental, Blumenfeld s etude does the opposite by completely forsaking the right hand. Therefore, Corigliano followed this model by reversing the roles of the hands, making the left hand seem to generate the whole work by virtue of its presenting all of the motives used throughout before the right hand enters. 5 Byron Almén, A Theory of Musical Narrative. (Bloomington: Indiana University Press, 2008). 6 Max Paddison, Authenticity and Failure in Adorno s Aesthetics of Music. in The Cambridge Companion to Adorno, ed. Tom Huhn (Cambridge: Cambridge University Press, 2004),

12 The whole of the piece was to be a set of etudes, but set in a form - one big form - and that form would be a fantasy form. 7 Chronologically, the work falls between what his biographer calls his first period, characterized by the clean American sound of Copland and Barber, and his (implicitly) second period, characterized by an architectural method of composition that combines a wide range of musical materials (i.e. tonal, microtonal, timbral, serial, aleatory). 8 Corigliano confirms this assessment by noting that after the success of his violin sonata he felt that he was relying too much on the old forms. In this second period he began to create architecturally designed works like the oboe and clarinet concertos, but without the expected forms. The work comprises five movements, each with its own subtitle. Each subtitle specifies a particular musical or performative property salient to the movement: for the left hand alone, legato, fifths to thirds, ornaments, and melody. Corigliano s introductory notes to the work explain the work in program note fashion, drawing attention to general features, ( slow chromatic descent, trills, grace notes, tremolos, a sonorous climax ) the physical motions of the performer, ( for the left hand alone, both hands slowly float downward, crossing of hands ) and affective cues ( ferocious, barbaric, mournful, desolate ). He also notes that the material in the studies is related...by the interval of a second (and its inversion to sevenths and ninths). 9 7 John Corigliano. In interview with the author. January 22, Mark Adamo. "Corigliano, John." In Grove Music Online. Oxford Music Online, e/music/42480(accessed December 3, 2009). 9 John Corigliano, Etude Fantasy, (New York: G. Schirmer, Inc., 1981), 1. 3

13 The title of the piece itself is not without significance. Though the genesis of the work is the idea of several etudes in fantasy form, and work is etude-like and fantasylike in some respects, it is important to note that other genres are referenced throughout the work as well. 10 The first movement, which later movements recall, is constructed with two alternating sections, the first entitled recitative and the second, simply slower. This alternation calls to mind recitative aria alternation by virtue of the markings as well as the cantabile melody of the second section. Also, as the analysis below will show, the work references sonata as well with its deviations and returns from various pitch centers. This final point is of historical interest as well because of the work s place in the chronology of Corigliano s works. Following the success of his Violin Sonata, Corigliano began writing the first works that eschew traditional forms. In the case of the Etude Fantasy, however, the traces of traditional forms are still clear. 10 Corigliano, in interview with author. 4

14 CHAPTER 1 FORMAL ANALYSIS This chapter will begin interrogating the work by first synchronically analyzing the basic motives that are used throughout and noting their most salient properties - pitch content, pitch centers and collections, and general gestural and affective particulars. This focused inspection will lead to a diachronic analysis of formal structure based on the manipulation of the motives and their implied pitch centers. This diachronic analysis will be concerned with the ways in which the motives are changed, combined, interrupted, and otherwise transformed as the work moves forward in time. 1.1 Synchronic Analysis The work comprises five interrelated movements, each with its own subtitle. Each subtitle specifies a particular musical or performative property salient to the movement: Etude no. 1: For the left hand alone, Etude no. 2: Legato, Etude no. 3: Fifths to Thirds, Etude no. 4: Ornaments, and Etude no. 5: Melody. As Corigliano states in an interview about the work, he wrote the last movements to [utilize] all the materials from the left hand [movement], even though later on, both hands would play that material. 11 Because similar materials pervade the different movements I will first present the basic five motives John Corigliano, interview by author, Recorded phone conversation, 22 January 5

15 The five most important motives are presented in the first movement within the first thirty seconds. They are (in order of appearance), motives R, O, X, Y, and I. (see figs. 1-5) 12 Figure 1. Motive R, (P1, L1) Figure 2. Motive O, (P1, L1-2) 12 Because the work includes large portions of unmeasured music, in place of measure numbers, I will indicate the location of musical incipits with the page number (P), line (L), and if measured, which measure (M) within that line. Each of the locators will correspond to the original Schirmer Edition previously cited. 6

16 Figure 3. Motive X (P1, L2) Figure 4. Motive Y (P2, L1-3) 7

17 Figure 5. Motive I (P2, L3) The most important of these motives is motive R. In the introductory notes to the work, Corigliano calls this a six-note row. 13 Although Corigliano does not use this six-note row as the basis for a strictly serial piece as the term row might imply, this six-note motive shows some of the most important relations between motives and sections for the piece. The first four notes of this row are the tetrachord 4-3 (0134). These four notes forecast the tonal and motivic schemes that Corigliano uses throughout incomplete octatonic sets that define formal areas and are associated with particular motives. The second two notes, A-flat and E-flat, are pitch centers to which the piece returns throughout in ways analogous to sonata form. Figure 6. Motive R, normalized register Three of the other motives, motives X, Y, and I, can all be understood as derived from tetrachord 4-3 (0134) that Motive R presents. (see figs. 7-9) 13 Corigliano, Etude Fantasy. 8

18 Figure 7a. Motive X, original order, Figure 7b. Motive X, (013467) as normalized register pair of (0134), OCT 0,1 Figure 8a. Motive Y, original order, Figure 8b. Motive Y, (013467) as normalized register pair of (0134), OCT 0,1 Figure 9a. Motive I, original order, Figure 9b. Motive I, (013467) as normalized register pair of (0134), OCT 1,2 Furthermore, each motive could be seen to be a part of the octatonic collections OCT 0,1 (Motives X and Y) or OCT 1,2 (Motive I). Note that the two final pitches of Motive R (Aflat and E-flat) are present exclusively within different octatonic collections. The A-flat is part of the collection OCT 0,1 (Motives X and Y), while the E-flat is part of the collection OCT 1,2 (Motive I). Motive I (marked icy ) displays several properties that set it apart from the other motives. First, it is the only motive to use OCT 1,2 exclusively. (see fig. 9) Second, it is lyrical, measured, and marked piano. Last, motive I establishes A-flat as a tonal center with inversional symmetry around the A-flat in the sighing melodic figure (boxed notes 9

19 inversionally symmetrical around A-flat) and the melody s repeated return to the A-flat sigh figure (indicated with arrows). (see fig. 10) Figure 10. Icy melody, motive I The final motive to be discussed here, Motive O, is not constructed using a strict octatonic collection. However, it does function to reinforce the octatonic collection OCT 0,1 by virtue of its emphasis on the E-flat through repetition and inversional symmetry. The pitch is sounded 26 times in the motive before eliding with motive X. Furthermore, each E-flat is marked with accents, marcato, and tenuto. The E-flat (4) is surrounded by G (7) and E (4) below and B (11) and D (2) above. Thus motive O forms an inversionally symmetrical complex around E-flat in addition to the repetitions, further reinforcing the E-flat s aural prominence. (see fig. 2) 10

20 To summarize the motives properties noted thus far, motive R presents the basic materials for the other motives. Motives O, X, and Y all emphasize OCT 0,1, establishing the tonal center E-flat, and are highly gestural and violent. Motive I stands apart: it is constructed using OCT 1,2, and establishes the tonal center A-flat. The motives discussed thus far are used as the melodic material almost exclusively in various forms throughout the work to generate the work s content. As I will show, the motives and octatonic sets are pitched against each other in ways analogous to sonata form. 1.2 Diachronic Analysis In the diachronic analysis, I will analyze each movement in detail, arguing for a specific structure that mirrors common-practice compositional procedures in various ways including its close analogy to sonata form. Though the work does not use the fundamental structuring device of tonal deviation, this analysis will show some similarity due to deviation in pitch center, pitch collections, and thematic/motivic use. The following analysis will proceed by analyzing the five movements in near exclusion from each other before showing the over-arching form and connections between the movements Etude No. 1: For the Left Hand Alone The Etude Fantasy is front-weighted. Like the normative classical sonata, the first movement is the most complex and features tonal diversions and sophisticated motivic transformations that contribute to its dramatic import. The first movement s form can be 11

21 seen as five main sections comprising two primary sections that recur in the following form: A B (P3, L3) A1 (P4, L3) B1 (P5, L5) [AB] (P7, L6, M2) [AB] denotes a distinct section in which motives initially particular to A and B are used simultaneously. The A section is unmeasured and pieced together with the different motives listed above (R, O, X, and Y) which, in performance, sound improvisatory and patched together like a Frescobaldi toccata. In contrast, the B section is measured and uses only the lyrical appoggiatura-laden motive I melody. The individual motives particular to each section begin as discrete entities that are then, as in standard practice, manipulated, transformed, fragmented, and interrupted in various ways. The manipulations that Corigliano makes on these motives are summarized in the tables below (see fig ). Further references to specific motives will refer to the motive s name and number (e.g. X(3), O(2)). # Location PCs Prime Form Added Omitted T N 1 A {3, 1, 4, T, 9, 0} (013467) A {3, 1, 4, T, 9, 0} (013467) - - T 0 3 A {3, 4, 5, T, 1, 9, 2, 0} ( ) 2, 6 - T 0 * 4 A {4, 0, 3, 6, T, 1, 9} ( ) 6 - T 0 * 5 A1 {7, 5, 8, 2, 1, 4} (013467) - - T 4 6 B1 {3, 4, 0, 6, T, 1, 9} ( ) 6 - T 0 * 7 [AB] {3, 4, 0, 1, 9, T} (013467) - - T 0 8 [AB] {8, 9, 0, 7, T, 1, 3, E, 4} ( ) 7, 8, T - T 0 Figure 11. All complete statements of motive X; * indicates a fuzzy transposition 12

22 # Location PCs Prime Form Added Omitted T N 1 A {3, 4, 0, 1, T, 9} (013467) A {3, 4, 0, 1, T, 9} (013467) - - T 0 3 A1 {7, 8, 6, 3, 2, 5, 1, 4, 0, T, 9, E} complete 2, 5, 6, chromatic 7, 8, E - T 0 * 4 A {3, 4, 9, T, 0, 1} (013467) - - T 0 * Figure 12. All statements of motive Y Prime T # Location PCs N (to Form original) 1 B {8, 7, T, E, 2, 1} (013467) - 2 B {8, 7, T, E, 2, 1} (013467) T 0 3 B {8, 7, T, E} (0134) T 0 4 B {8, 7, T, E} (0134) T 0 5 B1 {8, 7, T, E} (0134) T 0 6 B1 {8, 7, T, E} (0134) T 0 7 AB {0, E, 1, 3, 4} (01245) T 10 8 AB {3, 2} (01) T 4 9 AB {0, E} (01) T AB {8, 7} (01) T 0 11 AB {8, 7, T, E} (0134) T 0 Figure 13. All statements of Motive I # Location Ostinato pitch Accompanimental dyads; T n I Pitch Center 1 A {3} {E, 2}; {4, 7} = T 6 I E-flat, {3} 2 A1 {7} {8, 11}; {3, 6} = T 2 I G, {7} 3 AB {3} {4, 7}; {E, 2} = T 6 I E-flat, {3} Figure 14. All statements of Motive O 13

23 This parsing of the form of the first movement as suggested above is justifiable on a number of grounds. First, each formal division suggested above uses different motives to create competing pitch centers. As noted in the synchronic analysis, in the A section the motives O, X, and Y all create an E-flat pitch center. Motives X, and Y do this with their inclusion of the E-flat in the octatonic set that makes up their pitch content as well as their repeated returns to the pitch itself. Motive O creates the pitch center by virtue of its repetition of the pitch and the inversional symmetry around the pitch. In contrast, in the B section s motive I creates an A-flat pitch center by repetition and inversional symmetry around it. The relationship between these pitch centers - a perfect fifth - is another point of comparison to sonata form. Second, like many classical sonata form works, the motives of the A section are the affective foils of the motives of the B section. The A section s motives are marked fortissimo, unmeasured, gestural, often marked with accelerandi, and unstable. In contrast the B section s motive is careful, measured, and lyrical. The dramatic trajectory of the work is fueled by the pitting of the contrasts listed above against each other. Though it seems that the movement is a fight for dominance between the A-flat and the E-flat established by the contrasting motives in their discrete formal zones, instead, this movement enacts a gradual convergence of motivic and tonal particulars. The following analysis will describe the works movement through these various zones and their dramatic affect. The opening clearly establishes E-flat as the center of the A section with the symmetry around E-flat of motive O and the E-flat as platform from which motive Y falls (after a brief, but important upper neighbor motion). Immediately following the A 14

24 section, the B section s motive I establishes A-flat as the center with inversional symmetry around the A-flat in the sighing melodic figure (P3, L3). After establishing this A-flat centricity, the motive derails, and lurches back into an E-flat centric track. (see fig. 15; moment of E-flat derailing indicated with arrow) Figure 15. Motive I shifted to E-flat, P4, L2, M1 This E-flat centricity carries us into the A1 section, which begins with motive O (2), centered on G. This G is a direct analog to the G of the A-flat, G sigh motive of the icy melody of the B section. That is, it falls short of the upper note, A-flat. There are several reasons for this interpretation. First, in the A section, the center on E-flat was iterated by the motive O, then motive X (1) and X (2) with frequent upper neighbors, E-natural. (see fig. 16) Figure 16. Motive X from A; note frequent upper neighbor motion, P2 L5 15

25 Furthermore, motives X (1) and (2) elided with the motive X which launched from that same upper neighbor, E-natural. (see fig. 17) motive X motive Y Figure 17. Elision of motive X to motive Y; A section. Note the upper neighbor motion again. P3, L1 Thus the centricity is established not only by the inversional symmetry or sheer repetition of the pitch, but also by the upper neighbor figure falling to the centric pitch. Comparing this with the A1 section, we find that this important upper neighbor figure is conspicuously absent while all other relationships are intact. This A1 section is entirely T 4 related to the original A section until we reach motive Y, which, in the A section, is launched from the upper neighbor - the upper neighbor that is missing here. That is, motive O(2), and the elided motive X(5) are both T 4 related to motive O(1) and motives X(1-4). However, the motive Y(3) fails to conform to this transpositional level with dramatic consequences. (see fig. 18) 16

26 Figure 18. Note the consistent transpositional level until motive Y Because the transpositional relationships run parallel, one would expect the function of the pitches to run parallel as well. We expect the same roof-shattering motive X gesture through the centric pitch (G) to the pitch a half step above (A-flat upper neighbor) to launch motive Y at the same T 4 level. However, in the statement in section A1, the center on G fails to burst through to the A-flat. This dramatic turn of events results in a mangled motive form of motive Y, Y(3), the most manipulated form of motive Y in the work, covering the entire chromatic scale. (see the table in fig. 12) The characteristic cascading gesture is still present, but instead of describing the hexachord (013467), the motive covers the entire chromatic scale. Furthermore, instead of the 17

27 closure that Motive Y offered in A, the gesture continues with a fff, marcato concatenation of sevenths and ninths gaining what seems unstoppable force until they reach an immovable object: the initial motive R. (see fig. 19) Figure 19. Motive Y(3); P5, L1 Motive R (3) reestablishes order with its bold gesture upward to the expected E-flat. While the motives R (1) and (2) of the opening of the movement establishes the E-flat center and holds it, this statement, motive R (3) first establishes the E-flat as we expect it, then, doubled at the octave, subverts itself, establishing the tonal Other, the A-flat as the center. (see fig. 20) Figure 20. Motive R(4), P5, L2-3 18

28 Abbreviated forms of motive X and Y, both of which describe the (0134) of the first four notes of motive R, confirm the A-flat center before the B1 section launches with its characteristic focus on A-flat. The motives and affects particular to each motive and formal zone continue to be upset in the following two sections: B1 and [AB]. The B1 motives continue to confirm the A-flat pitch center until P6, L2, M2, when motive X interjects into B s domain, beginning sporadic exchanges between motives particular to A and motives particular to B in section [AB]. This section, comprised of free exchange between motives from both A and B also features unstable pitch centers shifting between pitch centers E-flat and A- flat. The stable meter associated with B is upset as well by quickly changing meters - approximately one meter change per measure. The affect of the B section s motive I is upset, taking on the impetuous character of the A section s motives. In exchange, the A section s motives are impregnated with the B section s pitch content, culminating in the final appearance of motive X stating it explicitly (see fig. 21). 19

29 Figure 21. Motive X with pitch content of motive I; P7, L4, M4ff This explicit statement of motive I within motive X shows how the piece moves from motivic and tonal exclusion between formal zones toward inclusion. The motives that exist in isolation from each other eventually come against each other sharing their properties, both formal and affective. The final moments of the movement do this most explicitly. In the final moments of the work, marked Maestoso, then Andante, rather than presenting one theme or tonal area excluding the other, the strongest motives of each zone are presented simultaneously. Motives R and O are elided and stratified with their opposite - motive I. Following the motive X that is seen in the figure above, motive I is presented and elided with motive R. Motive R ascends to E-flat as expected, but the A- flat is held across and resolves downward as an appoggiatura. This creates a double function for the A-flat: the penultimate pitch of motive R as well as the initial pitch of the elided motive I. (see fig. 22) 20

30 motive I (cont.) Motive R (5) Figure 22. Elided Motives R and I; P8, L1 Motive I appoggiatura figure The elision of motives O and I follows immediately after the elision above. (see fig. 23) 21

31 Motive I Figure 23. Final denouement of the movement; pitch centers and motives together In this final page of the movement, the principal pitch centers - A-flat and E-flat - coexist. The incessant motive O ostinato establishes E-flat, while motive I is stated throughout on its original A-flat. All of the statements of motive I are the A-flat to G appoggiatura except for the first, which is the middle of motive I s complete melody. To summarize the formal process discussed above, we find that the first movement presents motives that are oppositional in their affect and pitch centers (R, O, X, Y versus I). The motives impinge on each other s formal space and tonal implications, 22

32 coming into closer proximity until the final moments of the work where they coexist. Having seen that they eventually converge, we can then find cases of early implications of convergence, even before they are unarguably stratified. The linkage between the first section, A, and the second, B is the first instance of connective tissue between these otherwise distinct sections. The break between the sections is punctuated by a fermata, but final notes (A, C) of the A section are identical to the icy notes that form the inversional symmetry of the B section (see fig. 24) Figure 24. Linkage between A and B, P3, L3 This first mediating property - the shared minor third - crops up throughout the movement as the linkage between the motives. In the first B section, a quasi-ostinato figure begins using the same ascending minor third motion seen in figure 29. In this case however, the thirds are sounded as a pair of thirds at a T 1 relationship, thus forming the ubiquitous (0134) set. Immediately following the introduction of this material, the tonal motive derails into the A-flat centric form of the A section (see fig. 25). Figure 25. Ostinato thirds forming (0134) with motive I; P4, L1, M

33 This shared minor third forms the link between the A1 and B1 sections as well. In this case, however, it is much more explicit. The same minor third linkage occurs, but in this case they are sounded in the same register with nothing intervening. Furthermore, the thirds are paired in such a way that each set is the original (0134) (see fig. 26). (0134) (0134) Figure 26. Linkage between A1 and B1; P5, L4-5 This mediating minor third continues throughout the B1 in a way similar to its appearance in B - a persistent broken thirds figure. The defining motive of the B sections, motive I, is consistently presented with this same broken thirds figure throughout this section, but less covertly than previously. While previously the broken thirds figure locked into the meter without deviation, this ostinato is to be articulated against the prevailing meter (see fig. 27). 24

34 Motive I Figure 27. Motive I and broken thirds forming (0134) sets; P5, L5, M3 - P6, L1, M Etude no. 2: Legato Corigliano describes the second movement as simply the link between the first movement and the third. It functions largely as a denouement and dilution of the motives of the first movement. It is in two parts that are elided carefully to create a long ritardando. The first part is made exclusively of motive O and motive I sounding simultaneously, just as at the end of the first movement. The motives eventually disintegrate and become fragmented and distorted, although they persist to the end of the movement. The final notes of the movement are the original pitches of the appoggiatura figure of motive I in the first movement: A-flat descending to G. (see. fig. 28) 25

35 Motive I Figure 28: Motive I; 2nd mvmt., final 3 measures Etude no. 3: Fifths to Thirds The third movement is the outlier of the group with none of the motives that make up the other movements being used at all. Instead of the familiar (0134) or (013467) sets, the entire movement is constructed according to its name: fifths to thirds. The movement comprises a concatenation of fifths immediately contracting to thirds of indiscriminate quality. At times the fifths are perfect fifths contracting to major thirds forming the set (0157), while at other times they are diminished fifths contracting minor thirds, forming the set (0146). It seems that the only rigorous rule that this movement follows is the use of paired fifths and thirds regardless of quality. Not only is the quality of the fifths and thirds subject to change, but also their order and presentation as simple or compound intervals. At times the fifth to third motion is reversed with the third expanding to the fifth. The movement also presents the fifth to third alternation as a fifth expanding to a tenth (or compound third). Like the flexible 26

36 qualities of the intervals above, these qualities of order and presentation are malleable and subject to change without apparent reason. Although this movement does not use the motives that make up the rest of the work and thereby stands at a distance from the narrative action of the piece, it does nonetheless play an important role. Like an intermezzo between the acts of an opera seria or a dance movement of a symphony, the primary drama is momentarily put aside to be taken up again in the following movements. In this case, it seems the drama is not just put aside, but apparently defused because of the blatant separation of this movement from the previous movements. The use of the fifths and thirds also mirrors the large-scale narrative of the piece itself in one way: both the perfect fifth and the minor third intervals play important roles in defining key areas and motives. The perfect fifth is the relationship between the pitch centers of the first movement (A-flat and E-flat), as well as that of moments of centricity in the fourth movement (E-flat and B-flat). As I will show in the diachronic analysis, the minor third is used throughout to link discrete motives, and eventually is foregrounded to close the piece Etude no. 4: Ornaments The fourth movement begins by replicating the opening of the first movement, but with slowly developing ornaments. Unlike the first movement however, it does not use any motives from the B section. Instead, the fourth movement uses modified forms of the A section s motives (R, O, X, and Y) exclusively. 27

37 The movement is constructed using two main modules. These modular sections are book-ended with the expansive introduction that mimics the first movement s A section, and a transitional section that also mimics the first movement s A section. The first bookend uses the A section s motives R, X, and Y, while the ending bookend uses the A section s motive Y. Just like the first movement, the entire form of the movement might be described by comparison to sonata form. Figure 29 shows how the movement is constructed by repetition of materials, with a displaced embellishment of motive R in the second repetition. After an introduction that explicitly recalls the first movement, original material ( fleeting ) begins the movement, creating an unequivocal B-flat centricity by repetition throughout and a modified motive O at measure

38 Figure 29. Fourth movement form 29

39 After the introductory material that recalls the first movement, new motives related to the A section s motives pile on top of each other gaining juggernaut-like momentum. The motives present here clearly recall motive Y and motive O (see figs. 30 and 31) Motive Y Figure 30. 4th mvmt, mm ; Motive Y 30

40 Figure 31. 4th mvmt., mm ; Motive O on B-flat The first time that it appears, Motive O establishes a B-flat tonal dominance, but after a climactic recall of the motive R materials, these modules are repeated. During this repeat, they return to the tonal dominance that the A section of the first movement established: that of E-flat. (see fig. 32) Figure 32. 4th mvmt., mm ; Motive O on E-flat This return to the centricity of E-flat is not the only connection to the first movement. Immediately after reestablishing the E-flat centricity as seen above, motive Y 31

41 is recalled in a highly ornamented form, but is a near exact quotation of the same motive s appearance in the first movement. Figure 38 shows the junction between the A1 and B1 sections in the first movement with the descending motive Y, while figure 39 shows the junction between the fourth and fifth movements with nearly identical material, but highly embellished with octave doublings (see figs. 33 and 34) Cascading Motive Y Connecting Thirds Figure 33. Junction between A1 and B1 in Movement 1 32

42 Cascading Motive Y Connecting Thirds Figure 34. Junction between 4th and 5th movements In both cases, the pitch materials are identical, using the incomplete OCT 0,1 set whose prime form is (013467). Just as in the first movement, after establishing the E-flat centricity with motive O in measures this fourth movement s embellished version of motive Y includes the E-flat in its octatonic collection, thus confirming the exclusive pitch collection and implied tonal center. As the excerpts above show, the link between the fourth and fifth movements is a perfect analog to the link between the A1 and B1 section of the first movement. The fourth and fifth movements themselves are perfect analogs to the A and B sections of the first movement in their tonal implications, octatonic collections, and 33

43 motives used. As such, the fifth movement begins by enacting the B section s tonal implications, octatonic collections and motives Etude no. 5: Melody The fifth movement, as noted above, functions in a way analogous to the B section and the second movement. It begins by establishing the B section s tonal implication of A-flat centricity and OCT 1,2 collection, but quickly begins to incorporate A section motives and implications of pitch centricity on E-flat. (see fig. 35) Motive I Motive X, E-flat trill Figure 35. 5th mvmt: mm. 1-11: A and B section motives and tonal implications 34

44 A minor third dyad, usually A (9) and C (0) pervades the movement as a quiet ostinato figure, disappearing only briefly when motive O with its inversional symmetry around E-flat returns from measures Other than this minor third dyad figure, the materials are made up entirely of A section motives (R, O, X, and Y) and B section s motive I. In the final moments of the movement, the essential motives of each section - motive R of the A section and motive I of the B section - are each sounded clearly. First, motive R is played in retrograde, then motive I immediately follows. (see fig. 36) Motive R (retrograde) Motive I Figure 36. Mvmt. 5: mm The movement, and thus the entire piece, ends with the minor third dyad fading, dim. al niente. 35

45 1.2.6 Summary of Analysis and Large-Scale Form As the analysis above shows, the first and second movements elide. The motives R, O, X, and Y of the A section are set apart from motive I of the B section. The first two elided movements present all these motives in their exclusion, moving toward complete inclusion. Analogously, the fourth and fifth movements elide. The motives R, O, X, and Y of the A section are used exclusively in the fourth movement, while motive I returns in the fifth movement. These final two elided movements present the motives in exclusion, eventually moving toward complete inclusion, ending with only the connecting minor thirds sounding. The middle movement, Fifths to Thirds stands apart, using none of the motives listed. However, the intervals that Corigliano writes here - fifths and thirds - are the two most important intervals between differing pitch centers. The first movement s A section has the E-flat tonal center, while the B section has an A-flat center. Similarly, the fourth movement establishes a B-flat tonal center, then moves to an E-flat tonal center. In both these cases, the relationship is that of the perfect fifth or its inversion, the perfect fourth. (see fig. 37) Figure 37. Intervallic relationship between pitch centers throughout The third is the connective tissue that runs between the motives, formal zones, and the fourth and fifth movements. Thus the middle movement, though it does not engage with the drama suggested by the outer movements, abstractly engages with the drama by virtue of its use of fifths and thirds. 36

46 Having seen then that the outer movements both use the motives exclusively moving toward inclusivity, the form of the work is difficult to compare to commonpractice procedures that often rely on a final affirmation of single tonal center or motive. However, this work does bear some affinity to a cyclical sonata form by virtue of its explicit recall of previous movements and the parallel relationship between the outer movements. Furthermore, the pitch centers that the work pits against each other are related by the interval of the perfect fifth, similar to the dominant/tonic polarity of the classical sonata. 37

47 CHAPTER 2 SEMIOTIC INTERPRETATION 2.1 Summary of Byron Almén s Theory of Musical Narrative Byron Almén follows several prominent theorists including Robert Hatten and Eero Tarasti to create a new theory of musical narrative. His theory categorizes musical narrative using the four archetypical narrative modes or mythoi: romance, tragedy, irony, and comedy. Almén uses Northrop Frye s model of mythoi plotting each narrative type along a circle. 14 Innocence and experience occupy the opposite ends of the circle while each myth describes either stasis or movement around that circle. (see. fig. 38) Romance Innocence Tragedy Comedy Experience Irony Figure 38. Frye s original taxonomy of myth - romance and irony static; tragedy and comedy moving counter-clockwise 14 Byron Almén, A Theory of Musical Narrative. (Bloomington: University of Indiana Press, 2008),

48 Although Almén diverges from Frye s model, his theory owes much to this notion of each myth working to describe movement from or stasis upon each human experience of innocence or experience. Almén diverges from Frye by adopting James Jacob Liszka s semiotic modification of Frye s model. Liszka agrees with the bifurcation of the four archetypal myths, but reformulates them in terms of the hierarchical tensions that give rise to their possibility. That is, Frye s archetypal myths are the four basic strategies used by fantasy, by the narrative imagination, in playing out the tensions between the violence of a hierarchy that imposes order and the violence that results from its transgression. 15 Liszka s model take Frye s cyclic model and embellishes it by demonstrating that each myth can be formulated using this binary opposition of order-imposing hierarchy and transgression. The order-imposing hierarchy versus the transgression (transgressor) is the basis upon which Almén builds his theory. Each work enacts either the victory or defeat of the order-imposing hierarchy or transgressor. The romance is the victory of an orderimposing hierarchy over its transgression. 16 Tragedy is the defeat of a transgression by an order-imposing hierarchy. 17 Irony is the defeat of an order -imposing hierarchy by a 15 James Jacob Liszka, The Semiotic of Myth: A Critical Study of the Symbol. (Bloomington: Indiana University Press, 1989), Almén, Ibid. 39

49 transgression. 18 Finally, comedy is the victory of a transgression over an orderimposing hierarchy. 19 This is summarized in the table below. (see fig. 39) Order-imposing Hierarchy Transgressor Romance Victory Tragedy Defeat Irony Defeat Comedy Victory Figure 39. Almén s taxonomies of archetypal myths This theory relies on Liszka s theory of transvaluation, 20 which itself is closely related to the Charles Sanders Peirce s triadic sign model. 21 Transvaluation is the act by which a listener perceives a marked motive (or theme, module, etc.) as dominant or subservient within the sign system. This act of valuing is concomitant with one s sympathy with and rooting for the marked. Transvaluation, as conceived by Liszka, is dependent on the Peircian notion of the interpretant, which allows for a sign to be interpreted according to one s personal or communal values rather than according to a 18 Ibid. 19 Ibid. 20 Ibid. 21 Ibid, 42ff. 40

50 fixed signification. 22 According to this view, the sign (or marked motive) is malleable based on the perceiver; therefore one can allow for two analyses that agree on the quantifiable properties of the work without agreeing in their judgments about which narrative myth it describes. For one who favors shows of authority, they may hear a work as a victory of an order-imposing hierarchy. For another who favors the subversive individual or decentralized power, they may interpret the same work as the defeat of a transgressor. Though the work displays the same quantifiable properties, the value or rank assigned to these properties differs between listeners, thus the narrative described is itself different. After describing the separate components of transvaluation, Almén makes it clear that his argument in this book with respect to music will echo Liszka s position with respect to myth, that narrative is essentially an act of transvaluation. 23 (emphasis his) The narrative is driven by the transvaluation of symbols with the symbol system. Each symbol is assigned a hierarchical relationship (simply, high or low) within the symbol system, relative to all other symbols, but especially its opposite. The marked elements are perceived as marked based on the ways in which music represents culturally meaningful differences. 24 This makes the narrative a dynamically unfolding process rather than a static state of affairs. As one musical segment establishes perceived norms, another may violate or adhere to these norms. The violation or adherence to the 22 Ibid., Ibid., Ibid.,

51 norms generates our perception of difference, thus markedness and in the process, transvaluation Modified Semiotic Interpretation of the Etude Fantasy Having seen how Almén s theory works by interpreting musical themes as either order-imposing or transgressive, and the interplay between these relations as generating the work, I will now demonstrate how the Etude Fantasy would most likely be interpreted. Although this analysis will be closely allied with Almén s formula, I will eventually argue for a modified narrative that comes close to, but diverges from Almén s prescribed narrative mode. The Etude Fantasy is an example of Almén s tragic irony. This mode of narrative is characterized by transgressive elements that so undermine the initial hierarchy that they lay everything to waste. It is the atom bomb of narrative designs: irony lays waste so that other narratives can build up. 26 The tragic phase of irony is an extreme form of irony in which the initial order-imposing hierarchy is overturned to emphasize the dissolution of a valued cultural ideal. 27 The Etude Fantasy approximates this narrative mode but, as I will demonstrate, includes properties that resist this mode. 25 Ibid. 26 Ibid., Ibid.,

52 The first movement s A section establishes an order of sorts, though it is an unstable one. The gestural motives of the A section in motives R, O, X, and Y then give way to the transgressor - the B section s motive I. Motive I upsets the hierarchy s established norms: in place of the OCT 0,1 collection with E-flat center, motive I posits an OCT 1,2 collection with A-flat center. The wild assertiveness of the A section is replaced by the careful lyricism of the B section s serpentine motive I. As mentioned before, the remainder of the first movement enacts an eventual convergence of these motives. The B section s pitch materials corrupt the A section s motives, while the affect of the A section s motives invade the B section s motives. Section A1 of the first movement includes both B motives annunciated with the A section s ferocity, and culminates in a motive X that is fully corrupted by motive I s characteristic A-flat, G appoggiatura. (see fig. 23) In final AB section the motives and tonal center from both A and B coexist completely, continuing through into the second movement. (see figs. 24 and 25) The narrative thus far is ambiguous at best. The A section - the initial hierarchy - seems to be at least tolerating the presence of the B section, despite its insistent difference from it. Furthermore, the final notes of the second movement are that of the transgressor: Motive I s sigh figure gets the last word in the second movement. The affect is also that of the transgressor: quiet, lyrical, and soft. If it were not for the continued presence of A section motives, the narrative would be unequivocally that of the irony: the hierarchy and its norms defeated and silenced. As noted in the analysis, the third movement stands apart from the narrative drama. The pitch and motivic materials are unique and do not directly refer to the other 43

53 movements, except in their abstract reference to the relationship between the competing pitch centers (the fifth) and the connective link (the third). Instead, its role in the narrative is a temporary diversion from the drama of the outer movements. The fourth movement returns to the narrative drama: the first notes are exactly those of the first movement. The motives of the fourth movement are taken exclusively from the A section s motives, and the affect is continuously that of the A section: wild and aggressive. Like the first movement, the fourth movement eventually establishes the E-flat pitch center. Also like the first movement, it comes to the E-flat pitch center after developing a competing pitch center a fifth away, but in this movement the competing pitch center is on B-flat. (see fig. 37) The fifth and final movement mimics the B section of the first movement by first establishing the A-flat tonal center with the essential Other motive, motive I, but later enacting the inclusive function of the second movement. Both A section and B section motives are sounded simultaneously; thus the winner is yet undeclared. It seems the initial hierarchy and the transgressor both inhabit the same space, neither flinching at the sight of the other. However, this coexistence should not be misconstrued as a synthesis between the themes. A synthesis would demand that either one adopts the other s characteristics or is significantly modified to create a singular theme that transcends the previous two. Instead of a synthesis, Corigliano gives us something different. The work finishes with both essential themes sounding simultaneously. Motive R is played in retrograde, in its original register with motive I sounding immediately after. (see fig. 41) Neither theme, however, exerts dominance over the other by negation or 44