Monday, January 14, 2019

Blog Index — Organized by Topic (®Jan/2019)

A list of most of the blog entries posted so far, organized loosely by topic.

This is not completely comprehensive; entries relating to class business – reminders of deadlines, concert congratulations, order of class presentation, etc. – are not included.
→ Exploring the Creative Process; Struggles and Solutions ←
Strike While the Iron is Hot! (includes section on "writer's block")
→ Planning ←
→ Playing With Expectations; Musical Dichotomies ←
→ Composition Techniques ←
→ Form in Post-Tonal Music ←
→ Atonality; What's in a Name? ←
→ Winning and Losing; Judging and Being Judged; Reference Letter Do's and Don'ts ←
→ Audience Response to Contemporary Classical Music and Marketing ←
→ Composition Issues (10-part series that started this blog) ←
1.1. The quality of ideas may not matter very much in assessing compositions that emerge from them; and
1.2. The degree to which these ideas are original may not matter very much.
2.1. Study the music of others.
2.2. Compose as much as you can.
2.3. Invite criticism from others.
3.1. Live with it for a while.
3.2. What is it about?
3.3. Does it change character?
3.4. What is its function within the context of the piece?
3.5. Structural Analysis.
3.6. Harmonic (or Pitch, Scale, etc.) Analysis.
7.1. Less is more / More is more
7.2. Always leave them wanting more / Give them what they want
7.3. Don't treat the listener like an idiot / There's a sucker born every minute
7.4. There can be too much of a good thing / If you have a good idea, then stick with it!
7.5. The George Costanza approach.
8.1. Three models for the role of a composer
8.2. Mastery or Mystery?
8.3. The value of a plan
8.4. Getting stuck, and possible workarounds
8.5. Don't obsess
8.6. Challenges = Opportunities
→ Composition Projects ←
Posted by Clark Ross at 4:59 PM 0 comments

Sunday, January 13, 2019

Sacred Minimalism (2): Henryk Górecki, Symphony of Sorrowful Songs

Last week I wrote about one of the most popular works written in the last fifty years – Fratres, by Arvo Pärt – and a compositional approach/ideology that is known by many names, two of which are Sacred Minimalism, and Holy Minimalism.

Henryk Górecki (1933-2010) was another composer associated with this movement, and he wrote what is without any doubt the most popular classical composition of the past 50 years: Symphony No. 3, known as the "Symphony of Sorrowful Songs" (1976; just one year prior to Pärt's Fratres).

How popular did it become? Consider this:
  • It became a "smash hit" in 1992 when it was released on the Elektra-Nonsuch label, featuring soprano soloist Dawn Upshaw and the London Sinfonietta, conducted by David Zinman; this recording has sold over a million copies to date;
  • This recording reached number 6 on the mainstream UK album charts (note: these are the pop music charts, not classical);
  • It reached number 1 on the US classical charts, and stayed there for 38 weeks;
  • It remained on the US classical charts for 138 weeks. 
  • Wikipedia reports that "it probably counts as the best selling contemporary classical record of all time."
All of these achievements pertain to just one recording, but it has also been released on many other discs; it would not surprise me if the overall number – the one that includes ALL recordings sold of this work – is in the neighbourhood of 1.5 million, but this is just a wild guess on my part.

I don't know of any analysis that explains why this work became so popular, and I'm not sure that such an analysis is even possible. The reasons behind anything going viral to this degree are a combination of things you can analyze (e.g., "it's a beautiful work;" see more listed below), and momentum, like a snowball rolling down a hill becoming increasingly bigger, to the point where it can wipe out anything in its path.

But at least some of the reasons for its popularity may be:
  1.  The work really is very beautiful – the harmony is always tonal/modal, albeit with lots of "blurring" (sustained notes, layered on top of one another) – so listeners unfamiliar with classical music (and those that are) are not hearing anything that might come as a sonic shock to them;
  2.  It has a calm, soothing quality, for the most part – a quality associated with other works in the "Sacred Minimalism" style (including last week's example, "Fratres");
  3.  Being a type of minimalism, there is lots of repetition, but nowhere near to the degree you find in pulsed minimalist works by, say, Steven Reich, or in static minimalist works by Morton Feldman (although, there are elements of stasis in Górecki's piece as well);
  4.  The text is about things that anyone with any degree of empathy in their makeup can relate to; it consists of three laments, told from the perspective of a mother grieving dying (in the first movement) or dead (in the third movement) son, or, in the second movement, told from the perspective of an 18-year old girl imprisoned in a gestapo prison in 1944, and later killed. The text is below.
First Movement
My son, my chosen and beloved
Share your wounds with your mother
And because, dear son, I have always carried you in my heart,
And always served you faithfully
Speak to your mother, to make her happy,
Although you are already leaving me, my cherished hope.
(Lamentation of the Holy Cross Monastery from the "Lysagóra Songs" collection. Second half of the 15th century)

Second Movement
No, Mother, do not weep,
Most chaste Queen of Heaven
Support me always.
"Zdrowas Mario." (*)
(Prayer inscribed on wall 3 of cell no. 3 in the basement of "Palace," the Gestapo's headquarters in Zadopane; beneath is the signature of Helena Wanda Blazusiakówna, and the words "18 years old, imprisoned since 26 September 1944.")
(*) "Zdrowas Mario" (Ave Maria)—the opening of the Polish prayer to the Holy Mother
Third Movement
Where has he gone
My dearest son?
Perhaps during the uprising
The cruel enemy killed him

Ah, you bad people
In the name of God, the most Holy,
Tell me, why did you kill
My son?
Never again
Will I have his support
Even if I cry
My old eyes out

Were my bitter tears
to create another River Oder
They would not restore to life
My son

He lies in his grave
and I know not where
Though I keep asking people
Everywhere

Perhaps the poor child
Lies in a rough ditch
and instead he could have been
lying in his warm bed

Oh, sing for him
God's little song-birds
Since his mother
Cannot find him

And you, God's little flowers
May you blossom all around
So that my son
May sleep happily(Folk song in the dialect of the Opole region)
It is a very long piece –54 minutes – so be prepared; it gets off to a very slow and quiet start, so quiet that, if you are listening to this through your computer speakers, it is very difficult to hear anything for the first few minutes. For this reason, I have the video below cued to start shortly before the soprano enters, but obviously you should feel free to go back to the start of the piece and listen to the whole thing if you wish.

Its length, stasis, and repetitiveness have led some to wonder how many of the people who bought this disc actually listened to the whole thing, and, for those that did, how many listened to it more than once (this question is referenced in the Wikipedia article).

As always, share any thoughts you may have in the comments section below.

Posted by Clark Ross at 9:38 AM 3 comments
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Wednesday, January 9, 2019

Sacred Minimalism (1): Fratres, Arvo Pärt, and "Tintinnabuli"

If this interests you, consider checking out three other blog posts on this topic:

Sacred Minimalism (2): Henryk Górecki, Symphony of Sorrowful Songs
Sacred Minimalism (3): John Tavener
Henryk Górecki, Three Pieces in Old Style


There's a pretty good chance you've heard Fratres (1977) by Arvo Pärt, because it's a hugely popular piece. There are many different versions of it, because it was written with no specific instrumentation. It has been described as a “mesmerising set of variations on a six-bar theme combining frantic activity and sublime stillness that encapsulates Pärt’s observation that ‘the instant and eternity are struggling within us.’” (Wikipedia)

Pärt considered this to be an example of a compositional style he called "Tintinnabuli" (which in Latin means "bells") described as follows by Wikipedia:
"This simple style was influenced by the composer's mystical experiences with chant music. Musically, Pärt's tintinnabular music is characterized by two types of voice, the first of which (dubbed the "tintinnabular voice") arpeggiates the tonic triad, and the second of which moves diatonically in stepwise motion. The works often have a slow and meditative tempo, and a minimalist approach to both notation and performance. Pärt's compositional approach has expanded somewhat in the years since 1970, but the overall effect remains largely the same."
Have a listen, and please share any reactions you may have in the comments section below:.



Pärt's music is considered by some be exemplify a post-1970 movement in composition called "Holy Minimalism," also known as "Mystic Minimalism," "Spiritual Minimalism," or "Sacred Minimalism." Here's how this is described in Wikipedia:
"With the growing popularity of minimalist music in the 1960s and 1970s, which often broke sharply with prevailing musical aesthetics of serialism and aleatoric music, many composers, building on the work of such minimalists as Terry Riley, Philip Glass and Steve Reich, began to work with more traditional notions of simple melody and harmony in a radically simplified framework. This transition was seen variously as an aspect of musical post-modernism or as neo-romanticism, that is a return to the lyricism of the nineteenth century.

"In the 1970s and continuing in the 1980s and 1990s, several composers, many of whom had previously worked in serial or experimental milieux, began working with similar aesthetic ideals[3] – radically simplified compositional materials, a strong foundation in tonality or modality, and the use of simple, repetitive melodies – but included with them an explicitly religious orientation. Many of these composers looked to Renaissance or medieval music for inspiration, or to the liturgical music of the Orthodox Churches, some of which employ only a cappella in their services. Examples include Arvo Pärt (an Estonian Orthodox), John Tavener (a British composer who converted to Greek Orthodoxy), Henryk Górecki (a Polish Catholic), Alan Hovhaness (the earliest mystic minimalist), Sofia Gubaidulina, Giya Kancheli, Hans Otte, Pēteris Vasks and Vladimír Godár.

"Despite being grouped together, the composers tend to dislike the term, and are by no means a "school" of close-knit associates. Their widely differing nationalities, religious backgrounds, and compositional inspirations make the term problematic, but it is nonetheless in widespread use, sometimes critically, among musicologists and music critics, primarily because of the lack of a better term."
Check out some of these composers' music, and share any suggestions you may have for pieces to listen to in the comments section below!

In the mean-time, here's another beautiful work by Pärt: Spiegel im Spiegel (1978). Here's the Wikipedia write-up for this piece:
"Spiegel im Spiegel in German literally can mean both  "mirror in the mirror" as well as "mirrors in the mirror", referring to an infinity mirror, which produces an infinity of images reflected by parallel plane mirrors: the tonic triads are endlessly repeated with small variations as if reflected back and forth. The structure of melody is made by couple of phrases characterized by the alternation between ascending and descending movement with the fulcrum on the note A. This, with also the overturning of the final intervals between adjacent phrases (for example, ascending sixth in the question - descending sixth in the answer), contribute to give the impression of a figure reflecting on a mirror and walking back and towards it."

Posted by Clark Ross at 3:59 PM 9 comments
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Thursday, January 3, 2019

Welcome to 2019!

Welcome to my advanced composition students! I look forward to working with you this term.

At the end of this morning's class, I played an example of a short, character piece for piano and flute in which all chords were classifiable as "poly-harmonies," which means the superimposition of different tonal harmonies to produce a non-tonal (i.e., post-tonal) result.

Be aware that some chord superimpositions do not produce a non-tonal sonority, however. For example, if you superimpose an F chord over a G chord, the result is a G11 chord, not a new, post-tonal sonority. If you want to try writing a piece using poly-harmonies, make sure the resulting chord is not classifiable as an existing tonal harmony, and, more importantly, make sure that a chord that might possibly be classifiable as an existing harmony does not function or progress in the way that chord would in tonal music.

One of the most famous examples of poly-harmonies is the so-called "Petroushka Chord," in which F# major and C major triads are superimposed; this was the starting point of the piece played in this morning's class.

If this topic interests you, check out the three blog posts I wrote on Post-Tonal Harmony Ideas; each has audio examples and score examples to follow:

Post-Tonal Harmony Ideas (1)
Post-Tonal Harmony Ideas (2)
Post-Tonal Harmony Ideas (3) – This is the post that contains the piece played in this morning's class.

Finally, although this next link takes you to one of the posts I wrote on a different topic (ostinatos), it has examples of a related topic – bitonality – from The Rite of Spring: Ostinatos; making a lot from a little (2. Rite of Spring). This too may interest you.

If you read any of the above blog posts and find them interesting, please leave a comment in the "Post a comment" section below (you have to be signed-in to your Google account in order to post comments).
Posted by Clark Ross at 11:14 AM 0 comments
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