A STUDY OF MODAL PITCH COLLECTIONS

in

STANZE (2003) LUCIANO BERIO

Ittai Rosenbaum

A Thesis
Presented to the Faculty of the Jerusalem Academy of Music in Partial Fulfillment of the Requirements For the Degree of Master of Music in Composition 2011

Directed by professor Haim Permont

Modal Pitch Collections in Stanze

Table of Contents
Page Preface............................................................................................................................ii Terminology and procedures ................................................................................... iii Table of instruments' abbreviations ..........................................................................iv Table of graphics.......................................................................................................iv Introduction....................................................................................................................1 The significance of the Modal Pitch Collections (MPC)...........................................3 MPC and text .............................................................................................................4 Definition of unique pitch collections........................................................................5 Scope of research .......................................................................................................6 Occurrences of the pitch collections ..........................................................................6 Appearances of Modal Pitch Collection ......................................................................12 Stanza I Approaching decay and union.................................................................12 Stanza II The train is leaving ................................................................................21 Stanza III Promulgations of death.........................................................................27 Stanza IV Another face of god..............................................................................32 Stanza V final recognition ....................................................................................39 Summary ......................................................................................................................44 References....................................................................................................................46

Modal Pitch Collections in Stanze

ii

Preface
Luciano Berio's Stanze is a five-movement work, set to songs about death or as Berio called it "that unmentionable place"1. In this composition, Berio's last work, written in 2003 shortly before his death, he treats death with some ambiguity and even a bit of gentle humor. Stanze refers not to poetic stanzas, but to "rooms", and each of its sections uses a text from a writer close to the composer: Paul Celan, Giorgio Caproni, Edoardo Sanguineti, Alfred Brendel and Dan Pagis. Most of the texts are set to quietly haunting music, as if the composer had a sixth sense that this might be his last utterance.2

Scored for Baritone, three male choruses and large orchestra, Stanze is comprised of a distinctive chordal language. The rich textures, superimposed one upon another, are typical to Berio's use of timbrally unified layers of sound. Among the dense, polychromatic chords and lines, several pitch collections of diatonic quality stand out. Comprised of tones that resemble the traditional church modes, such as the Mixolydian, Dorian, Lydian etc, these pitch collections are highly distinctive and their appearance in this work cannot be regarded as coincidental. Clearly distinguished from, and in sharp contrast to their surroundings, these pitch collections manifest themselves by various means: 1. Clear appearance, vertically uninterrupted by tones external to the mode 2. Uniformity of rhythmic placement and duration 3. Uniformity of articulation and dynamics 4. Allocation of the collection's pitches to a distinctive section of the orchestra or choir 5. A massive number of instruments that participate in their execution

Do these pitch collections have a definitive role? Are they unique in this sense to this specific work and its somber subject? This study will venture to answer these questions, by tracing their occurrences, defining their unique characteristics and examining the consistency of their appearances. Further assumptions and suggestions
1 2

Quoted by Andrew Clements, The Guardian, Friday 5 August 2005 Clements, 2005

iii

Modal Pitch Collections in Stanze

regarding the phenomenon, particularly its structural function, will be made by examining relations between the pitch collections and correlation between them and the text.

Terminology and procedures

The modes indicated hereinafter are based either on distinctive bass note at the point of appearance or on contextual bass reference.

Middle C = C4 Music examples are usually presented in full score with the relevant area framed within a rectangle.

To facilitate discussion and analysis, certain general terms are used to express specific meaning in this essay: o Modal Pitch Collection (MPC) a collection of tones that comprise a mode, usually one of the traditional church modes, but also others that have similar assembly and construction of intervals, i.e. seven pitches with no consecutive minor seconds o External external, alien or foreign notes to the discussed pitch collection

The pitch collection are represented by the standard set theory terminology: C = 0; C = 1; D = 2 etc.

Chords of traditional or jazz quality are symbolized in the popular, letters and degrees system. Examples: E(9)Maj7, Am7,9, B6 etc. In case of uncertainty, the pitch class set should be consulted. Example: B6 is a chordal representation of [10,2,5,6]

Modal Pitch Collections in Stanze Table of instruments' abbreviations Abbreviation pic flt ob e.hr cl cl.pic cl.b a.sx t.sx bsn cbsn trp Instrument piccolo flute flute oboe English horn clarinet piccolo clarinet bass clarinet alto saxophone tenor saxophone bassoon contrabassoon trumpet Abbreviation hr trb tub glk cel pno ch1-t, ch1-b ch2-t, ch2-b bar vln vla vcl cb Instrument horn trombone tuba glockenspiel celesta piano choir I tenor, baritone choir II tenor, baritone baritone violin viola cello contrabass

iv

Table of graphics Graphics 43-1 [1,2,3] (0,1,2) [1,2,3] [4,5,6] [0,3,7,10/11] Meaning measure-beat Pitch classes in square brackets pitch class, from root of mode Pitch classes in round parentheses pitch collection does not manifest a clear sense of tonal center In impure occurrences, the external tones are written within a second pair of square parentheses An ambiguity in the definition of the pitch collection.Either one of the two pitches separated by the slash may be a part of the collection, but not the two of them together Part of a divisi (from higher part down) Only the underlined part of the poetic text is relevant to the discussion

vln1-div2
"Almighty"

Modal Pitch Collections in Stanze

Introduction
Whether explicitly and intentionally experimental, or already influenced and imbibing from precedent modern music, harmony of the 20th century has gradually expanded and challenged the boundaries of the traditional elements of music. Its central elements of characterization are certain modes, harmonic progressions and chords. As we advance through the history of western music in the 20th century, the concept of these components is undermined; through deliberate destabilization of the tonal role or by absolute transformation and dismantling of tonal connotation whatsoever3. The musical idiom of Stanze is diverse in several senses, but the tone contrast between modal and non-modal4 pitch collections is remarkable and immediate. The opening chord, a terrifying, monolithic mass of sound, is comprised of all twelve tones and executed with a horrific noise, produced by a slow and hard pressed bow on the strings. From within this chaos emerges a six-four D minor chord, supported by additional tones of the D Dorian mode. It is executed by a substantial part of the orchestra (see EXAMPLE 1), and although it includes other tones, external to D Dorian, its appearance is of a strikingly modal distinction. There are, of course, more sets and subsets within this occurrence, and obviously there are many subsets within the 12tone chord of the first measure some of may be of interest. But the choice of this particular occurrence, as all other pitch collections discussed in this study, has been made due to its apparent audial manifestation.

One of many examples may be the role of the C major chord in Alban Berg's Wozzeck. Versuch einer Wilrdigung, Universal Edition, Vienna 1957, pp. 311-27 4 As stated before, the term 'modal' refers to either a church mode or a seven-pitches set with no consecutive minor seconds.

Traditional Pitch Collections in Stanze

EXAMPLE 1 - Score mm. 1 to 7

Modal Pitch Collections in Stanze

Berio's own view of the composing act is that of an exploration of the composer's own experiences in works that invent and elaborate "patterns of expectation, creating modes of conditioning the perception of a willing listener."5 Incidentally, Berio's use of the term 'mode' is most appropriate to this discussion: the listener is conditioned to certain tone-collections (and then to the absence of certain tone-collections), and by means of quantity and placement, the listener distinguishes the rare occurrences as special events. Furthermore, as a result of their scarcity the said modes evolve into unique phenomena, far from their traditional use as a complete tonal environment; the D Dorian is hardly anymore a hierarchy of seven tones serving as vocabulary for a compositional unit, but a glimmering entity, radiating a mood of another musical world.6 An absolutist approach may argue that musical meaning lies exclusively within the context of the work itself, in the perception of the relationships set forth within the musical work. A referentialist approach would contend that music also communicates meanings which in some way refer to elements that are, in definition external to the particular idiom that the composition present (meyer 1956). As already mentioned, the first MPC is manifested promptly after the twelve-tone chord in the beginning. Due to that early and unequivocal occurrence, the musical meaning of the MPCs in Stanze is both external and internal: it may carry a cultural charge of traditional European or jazz music, but it may also be just another tone collection, distinguished from other tone collections of the composition by its pitch and intervalic content, yet equal to them in the cultural charge.

The significance of the Modal Pitch Collections (MPC)

Berio is well known for his referential practices, ranging from borrowing fragments and elements (as in Sinfonia7, 1968) to the complete adaptations of folk songs (Folk

Listening to Berio's Music George W. Flynn. The Musical Quarterly, Vol. 61, No. 3 (Jul., 1975), pp. 393, Published by: Oxford University Press Stable 6 Remaking the Past, Music Modernism and the Influence of the Tonal Tradition, Chapter 1 Toward a Theory of Musical Influence, pp. 1-20 Joseph N. Straus, Harvard University Press, 1990 7 See C. Catherine Losada Between Modernism and Postmodernism: Strands of Continuity in Collage Compositions by Rochberg, Berio, and Zimmermann, 2009, also J. Peter Burkholder, Types of borrowing, Grove Music Online

Modal Pitch Collections in Stanze

songs, 1964). Utter musical quotation and juxtaposition of contrasting styles in Stanze is a subject for further, large scale research8. Yet the application of mere pitch collections that carry distinct traditional connotations is also a considerable mean for creating heterogeneity in the musical language of the composition. As the first MPC appears so promptly, immediately at the second measure of the composition, it cannot be referred to as a deviation from the tone-idiom of the composition (Losada 2009). Rather, its exclusivity stems from its rarity throughout the work. Due to the degree of the contrast between the MPCs and other pitch collections in the composition, the MPCs stand out as unique. This study presumes the phenomenon of the MPC to be culturally charged. As that, it is assumed as a powerful agent of affiliation. A musical phenomenon, that is differentiated by means of strong affiliation, can be an essential tool for homogeneity, multiple-layering and a possibility of creating sub-structures in composition. But such discoveries are yet to be made, and may require a thorough, extensive analysis of the work an endeavour beyond the scope of this study.

MPC and text

Few composers have exploited the possibilities of the human voice as Berio. His compositional treatment of the human voice encompass a wide range of linguistic, semiotic and gestural aspects9. Analysis by reference to text should then be approached free of presuppositions. The baritone part in Stanze, the main conveyor of the text, does apply nonverbal gestures (example: Stanza V, m. 614), but they are scant. Moreover, in comparison with the choir, the baritone's part employs a rather conservative treatment of the text. For this reason, the study does stress relationships between musical phenomena and specifically the MPCs and the objective meaning of the text.

Losada 2009 Flynn 1975, also Music Is Not a Solitary Act: Conversation with Luciano Berio Theo Muller and Luciano Berio Source: Tempo, New Series, No. 199 (Jan., 1997), pp. 16-20 Published by: Cambridge University PressStable
9

Modal Pitch Collections in Stanze

Definition of unique pitch collections

The pitch collections chosen to be included in the category of MPC are the diatonic scales10, with an emphasis on modes that contain the traditional major and minor lower pentachord notes: 0,2,4,5,7 and 0,2,3,5,711. These pitch collections and their subsets appear in varied degrees of salience. The contrast between them and the general environment occurs again and again throughout the composition. It should be noted perhaps even stressed that there is a significant discrepancy between the audial clarity of the discussed occurrences, and its enharmonic notation. Although Berio had had the reputation of reclaiming the fundamental role of harmony in musical structure12, we cannot expect harmony in this composition to function in traditional patterns. It seems as if Berio did not mean to represent the MPCs as traditional pitch collections at all, perhaps even reject them as such. One of many examples can be found in Stanza V, m. 612: a pitch collection of [8,10,11,1,3,5,7] (A melodic minor) appears broadly and uninterruptedly on four long quarter beats ( = 68). The baritone's part is comprised of the three tones of the A minor triad, but notated as E, B , A (EXAMPLE 2). Many other instruments use enharmonic spelling that visibly defies that of a traditional mode.

EXAMPLE 2

10 11

Scales that comprise of the Interval Classes 2-2-1-2-2-2-1 and 2-1-2-2-2-2-1 Both defined and numbered by Allen Forte as 5-23 12 Berio, Luciano The Grove music Online, editor: David Osmond-Smith (Biography updated 27 Aug 2003)

Modal Pitch Collections in Stanze

Scope of research

This is a study of a specific aspect and it cannot pretend to propose an extensive and thorough analysis of the composition. Rather, it suggests an insight into a powerful compositional tool, and proposes an examination through the prism of its concept. Not all existing relevant pitch collections and subsets are observed; some marginal and ambiguous cases are overlooked in this research: a. The frolicsome, comic Stanza IV is characterized by harmonic and orchestrational colors borrowed from jazz, even Broadway-show-like gestures. The modes being discussed here are therefore juxtaposed against an environment not so external as in the other stanze. Most of the quick, fleeting chords are therefore overlooked and only clear, long occurrences of the discussed pitch collections are mentioned. b. Ambivalent subsets of too little number of pitches are also excluded. Despite their natural salience, the choirs often fall into this category. c. The parts of the glockenspiel and the celesta are mostly chromatic clusters. Due to that and their percussive-color sound, they are usually disregarded.

Occurrences of the pitch collections

The following table displays all detected appearances of the MPCs: pure occurrences; clear occurrences but tinged with notes external to them; and occurrences that are evidently superimposed on or against a substantial external background. Defining these pitch collections as unique, especially when their occurrence is not pure, is determined not only by their diatonic quality but also by these salience-intensifying factors: 1. Number of instruments participating in the execution of the unique pitch collection 2. Unity of rhythm and/or contrast to rhythm of environment 3. Unity of articulation and/or contrast to articulation of environment 4. Unity of dynamics and/or contrast to dynamics of environment

Modal Pitch Collections in Stanze

Along with the qualities of manifestation of the MPC itself, there is importance to the relations of the MPC to its horizontal surroundings: how it emerges, is it lead into by means of voice leading and how it dissolves if at all into the following instance.

Table of occurrences
Stanza

Location

Pitch collection

Instrumentation

further distinguishing qualities

Textual Context

Purity of occurrence Superimposed on external background

2 I

[2,4,5,7,9,11,0] D Dorian

(0,2,4,5, 7,9,11) D Dorian (No clear root)

pic, flt1,3, ob1, e.hr, cl.pic, cl1,2,3, cl.b, a.sx2, bsn1, trp1,2,3,4, hr1,2,3,4, trb1,2,3, tub, vln2, vla flt1,2,3, e,hr, cl.pic, cl1,2, trp1,2, hr1,2,3 ob1, a.sax1, vlnI2

(No text introduction)

10, 2nd beat to end 16, 2nd beat 26, 1 beat to 26, 3rd beat
st

[3,8,10,0,1,5,7] [4] E Mixolydian [8,11,0,2,3,7] A Lydian [2,4,5,7] D minor tetrachord Superimposed on: [3,5,10,2] E(9)Maj7

cl.pic, ob1, a.sx1,2, hr3,4, vln1-div2, vla, vcl, cb cl.pic, cla1,3, bsn1,2, bar, vln2, vla-div2, vcl, cb flt1,2,3, ob1,2, e.hr, cl.pic, cl1,2,3, a.sx1,2, t.sx hr1,2, bar, vln2, vcl, cb ob2, hr1,2, trb1, tub, vln1-div2, vln2, vla, vcl, cb cl.b, bsn1,2, cbsn, bar flt1,2,3, ob1,2, e.hr, a.sx2, t.sx, bsn1,2 (partially), cbsn, trp1,2, vln1 (partially), vln2div*, vla-div1, cb hr1, bar ob1,2, e.hr, cl.pic, a.sx1,2, t.sx, hr3, trb1,2, bar, vcl, cb

unity of rhythm, articulation and dynamic: tenuto quarter-note, ppp Long, already present notes long notes

(No text introduction)

Some external tones

(No text introduction)

Some external tones Some external tones

unity of rhythm, articulation and dynamic: tenuto quarter-note, ppp Long, sustained notes unity of rhythm, articulation and dynamic: tenuto quarter-note, ppp Long, already present notes unity of rhythm, articulation and dynamic: tenuto quarter-note, ppp

" als wr der Leib" ("as though the body"

Superimposition

32, 2 beat

nd

[9,11,0,4,6] [1] Am9,13

Right after utterance of and during the word "Herr"

Some external tones

37, 2nd beat

[9,11,0,2,4,6,7] A Dorian

Within "wir sind nah." (we are near.")

Some external tones

47, 7th beat

[9,11,1,2,4,6,8] A Ionian

Long, already present notes unity of rhythm, articulation and dynamic: tenuto eighth-note, ppp

"Es war blut" ("It was blood") As if sweetening the assertion it was indeed blood

Pure

Modal Pitch Collections in Stanze

55, 4th beat [7,8,10,0,3,2,5] [9] B Mixolydian pic, ob1,2, e.hr, cl.pic, cl1,3, a.sx1,2, t.sx, trp1, vln1-div1, vln2, vla, vcl, cb unity of rhythm, articulation and dynamic: half-note, ppp 13 Just before and with "Augen" in "Es warf uns dein Bild in die Augen" ("It cast your image into our eyes") Between "Es glnzte." ("It gleamed") and "Es warf uns dein Bild in die Augen" ("It cast your image into our eyes") (No text)

8
Some external tones

60, 1st beat

[9,11,0,4,6,8] [0] A melodic minor

cl.b, a.sx1,2, t.sx, bsn1,2, trb1

unity of rhythm, articulation and dynamic: syncopated half-note, ppp except mf of bassoons' A2

Some external tones

86, 2nd beat

[9,11,1,2,4,6,7] [0,5,10] A Mixolydian

flt1,2,3, ob1,2, e.hr, bsn2, trp1, trb1,2,3

104, 2nd beat to 105 109 to 110 II

[9,10,1,2,4,6,7] A Mixolydian b2 [4,6,9,11,1,2] A Ionian bass E

cl.b, t.sx, bsn1, trp2, hr1, tub, vlndiv1, vln2, vla, vcl, cb t.sx, hr1, vln1,2, vla, vcl, cb cl.bs, t.sx, bsn1,2, cbsn, trb1,2,3, tub, ch-b

unity of rhythm, articulation and dynamic: half-note, ppp Various lengths, attacks and dynamics

Some external tones

(No text)

Pure

113

[9,11,1,3, 4,6] [2] A Lydian

bsn1,2, cbsn bar, vla, vcl, cb

Rather blurred but sustained low notes, contrasted to swift staccati of woodwinds Just a remainder of preceding notes Long, crescendo Horns on the beat, followed by all the rest off the beat. All instruments appear as an attack on the beat Clear, uniformed attacks

(no text introduction)

Some external tones

132, 3rd beat 133, 1st beat 133 to 136

[2,6,7,9,0,] [1] D7sus

cl.b, a.sx1,2, t.sx, hr1,2,3,4, trb1,2,3, tub, ch (all) pic, cl.b, a.sx1,2, t.sx, bsn1,2, trb1,2,3 tub Ch, doubled either by saxophones and bass clarinet or by trombones and tuba

[9,11,0,2,3,7] A Locrian 2 several 4-notes chords: [0,5,8,10] [2,7,9,11] [8,11,1,4] [0,3,7,9] [2,7,9,11,0] D Mixolydian

During "a tirar gi la valigia." ("To pull down my suitcase") During a syllabic manipulation of the word "reco" ("I bring") "Vorrei" ("I would like") "Vorrei, vorrei, conversare ancora con voi"14 (I wish, I wish to chat with you again") "voi" ("you")

Some external tones

Some external tones

Pure

Superimposed on partially external background

137

pic, tub, trb1,2,3, ch, vla

Loud and long chord by ch, pp tremoli of low brass

Pure

All participating instruments are in ppp starting on mm. 45 and 46. In fact, in mm. 48 most of the strings are required to produce a grinding noise in mf, immediately diminishing to an undefined dynamic. Due to the context, it is assumed that right after that they are again in ppp. 14 Here, and many other places, Berio takes the liberty to manipulate and alter the text to fit his concept. Compare with the complete original text.

13

9
138 [0,3,7,9,10/11] C Dorian/mel.min.

Modal Pitch Collections in Stanze

pic, cl.pic, cl.bs, a.sx1,2, t.sx, ch One of the longest MPC's chords in the whole composition. Clear, uniformed attack "vorrei conversare" ("I would like to talk") Between "Vorrei, vorrei, conversare ancora con voi" and "ma ignoro il luogo" ("but I do not know the place") Some external tones

141, 2nd beat

[0,1,5,8,10] [9] F Aeolian

trb1,2,3, tub, choir, strings (except bass)

Some external tones

219, 2nd beat 220, 1 beat

st

[10,2,5,7] B6 [10,2,5,7] B6 Negligible reminiscence of C

a.sx1,2, t.sx, cbsn, trb1,2,3, tub, cb a.sx1,2, t.sx, cbsn, trb1,2,3, tub, pno, bar, cb Repeated chords and melodic pattern, beginning with relevant pitch collection "quelo que dico?" ("what I say?")

Some external tones Pure

III

228, 1st beat

239, 2nd beat

in violins [5,7,9,11,2,4] F lydian no C, continues to end of 228 but piano interrupts with external notes [3,5,7,8,10,0] [4,9,11] E Ionian/Mixolydian [3,5,7,9,10,2] E Lydian

297 to 300

IV

301

[1,3,5,7,8,10,0] D Lydian (bass is F but D is accentuated by a ff bones, horns and most of strings) [2,4,5,9,10,0] D Aeolian

flt1,2,3, ob1,2, e.hr, cl.pic, cl.b, t.sx, bsn1,2, pno (partially), hr1,2,3,4, vln1,2 vla, vcl cl1,2,3, a.sx1,2, cbsn, trp1, tub, vln1-div1, vln2div1, vla-div, cldiv1,2, cb pic, flt1,2,3 (partially), ob1,2 (partially), cl.pic, cl1,2,3, t.sax (partially), bsn1,2, trpt 1,2 (partially), hr1,2,3,4, tub, vln1 (partially), vln2, vla (partially), vcl (partiallly), cb pic, flt1, ob1,2, cl.pic, cl2,3, cl.bs, t.sax, bsn1,2, trp1,2, hr1,2,3,4, trb1,2, tub, vln1, vln2, vla, vcl, cb bar, vla, vcl, and joining in 346: vln2, cb

"ho messo il nitri" ("I put the nitrite")

Pure

Just before "rispondi tu" ("answer, you")

There are only two external notes: two, short appearance of Db6 in piccolo and E in several octaves, but heard as a chromatic neighbor.

"The Holy Ghost" 1st association of the Lydian mode to a holy entity.

(weak occurrence) Superimposed on external background Some external tones

"Ghost" 2nd association of the Lydian mode to a holy entity.

Some external tones

344 to 347

"Alois"

Pure

Modal Pitch Collections in Stanze

348 to 352 [2,4,6,7,9,1] D harmonic minor15 [3,5,7,9,10,0,2] E Lydian pic (partially), cl.bs, bsn1, tub, bar, vln1(solo), vla, vcl, cb flt2,3, cl.bs, sx.a1,2, bsn1, trp1, hr1, trb1, bar, vln2, vla, vcl (although tinged, most of the scampering notes of the pic, flt1 and t.sx belong to the pitch collection) pic, flt1,2,3, a.sx1,2, t.sx, hr1,2, trb1,2, bar, vln1 (partially), vln2, vla cl.bs, hr1, bar, vln1,2, vla (partially), vcl flt1,2, ob1, cl.pic, cl1, cl.bs, bsn1, hr1, bar, vln1,2, vla A2: cl.bs, t.sx., bsn1, bar, cb cl.bs, t.sx, hr1,2,3,4, trb1, trb2 (partially), bar, vln1, vla, vcl pic, flt1,2,3, cl.pic, cl1,2,3, vln1,2 "...razor sharp ear detected..."

10
Some external tones

413 to 417

"straight to the almighty" 3rd association of the Lydian mode to a holy entity.

Some external tones

418 to 419

[10,0, 2,3,5,9] E Lydian

Most instruments sustain long notes in or towards pppp

"mighty"

Some external tones

420 to 421

[8,10,0,2,4,5] A Lydian 5

All instruments in crescendo towards ff

"mighty"

Some external tones pure

428 to 429

[4,7,10,2] E half-dim The above is superimposed on A bass [7,9,11,1,2,4,6] G Lydian

"his eighteen"

430 to 431

"or was is thirty three" "other open up before us, granting entry to..." (No text)

pure

445 to 453

Some external tones

602 to 603, 1st beat 611, 1st beat 611, 4th beat

[9,11,1,2,4,6] A Ionian/Mixolydian

Homogeneuos attack and duration, then a tonal glissandi by strings from E to A and reiteration of A

Pure

[7,9,10,2] Gm9

[3,5,6,9,10,1] E "Mi Shebeirach" Jewish Klezmer mode16 [8,10,11,1,3,5,7] A melodic minor

flt1,2,3, ob1, a.sax1,2, hr1,2, trb1,2, ch1-t,b, vln1, cl-div, cb cl1, a.sx1,2, trb1,2, ch1-t,b, bar, vln1, vla, vcl-div, cb flt1,2,3, ob1, a.sx1,2, t.sx, trb1,2, ch1-t,b, bar, vln1, vla-div, cl-div flt1,2,3, a.sx1,2, t.sx, bsn1,2, hr1,2, trb1, ch1-t,b, bar, vln2, vla, vcl-div

Just before "und gebrochener Stim" ("and broken brow") "und gebrochener Stim" "und gebrochener Stim" "werden die toten" ("the dead will gather")

Pure

pure

612

Pure

615, 1st beat to 615, 3rd beat

[3,5,6,9,11,1] E Locrian 2

Some external tones

The ambiguity of the 3rd should be mentioned as it appears only once, as a grace note, but in the leading solo violin. The major 3rd appears as F6 in the piccolo and violin 2. 16 Also called the Ukrainian, Altered Ukrainian, Doina, or Altered Dorian. Avi Bar-Eitan The Steiger Ahavo Rabo In Klezmer Music, (Master's thesis, the Hebrew University 2004), pp. 6.

15

11
648 [0,2,3,7,9,11] C melodic minor [5,7,8,10,0,2,3] F Mi Shebeirach mode

Modal Pitch Collections in Stanze

t.sx, hr1, tub, ch1t,b, ch2-t,b, vln1,2, vla cl1,2,3, hr1,3,4, trb2,3, tub, ch1,2,3, vln2 No text, several vowels sung by choirs No text, several vowels sung by choirs Pure (transitory B4, D5 in t.sx) Pure

649

651, 2nd beat 653, 3rd beat 662, 4th beat

[10,1/2,5,7] Bm6 or B6 [0,3,6,8,9] A7(9)/C [3,7,9,10,1] E Lydian b7

flt2,3, t.sx, ch, vln1, vln2, vla, vcl, cb flt1,3, a.sx1,2, t.sx, hr1,2,3,4, trb1, ch1,2,3, vln1,2, vcl, cb cl.bs, a.sx1,2, t.sx, bsn1, hr1,2,3,4, glk, ch1,2,3-b, bar, vln1, vla (partially), vcl

No text, several vowels sung by choirs "wei" ("known")

Superimposed on external background Some external tones

"wer verlucht" ("who is cursed")

Some external tones

Modal Pitch Collections in Stanze

12

Appearances of Modal Pitch Collection

Stanza I Approaching decay and union

Paul Celan Tenebrae

Darkness English translation by Bill Brunson We are near, Lord, near and at hand. Handled already, Lord, clawed and clawing as though the body of each of us were your body, Lord. Pray, Lord, pray to us, we are near. Wind-awry we went there, went there to bend over hollow and ditch. To be watered we went there, Lord. It was blood, it was what you shed, Lord. It gleamed. It cast your image into our eyes, Lord. Our eyes and our mouths are open and empty, Lord. We have drunk, Lord. The blood and the image that was in the blood, Lord. Pray, Lord. We are near.

Nah sind wir, Herr nahe und greiffbar. Gegriffen schon, Herr, ineinander verkrallt, als wr der Leib eines jeden von uns dein Leib, Herr. Bete, Herr, bete zu uns, wir sind nah. Windschief gingen wir hin, gingen wir hin, uns zu bcken nach Mulde und Maar. Zur Trnke gingen wir, Herr. Es war Blut, es war, was du vergossen, Herr. Es glnzte. Es warf uns dein Bild in die Augen, Herr. Augen und Mund stehn so offen und leer, Herr. Wir haben getrunken, Herr. Das Blut und das Bild, das im Blut war, Herr. Bete Herr. Wir sind nah.

As described in the introduction, stanza I, Paul Celan's Tenebrae, opens with a twelve tone chord that could well deserve the title Darkness. It dissolves immediately into a pitch collection of D Dorian, superimposed on external notes, remnants of the preceding chord (EXAMPLE 1). This quick transition occurs again in m. 6, where the noisy strings highlight another twelve-tone chord, dissolving again into the same pitch collection (0,2,4,5,7,9,11), but this time with no clear sense of root and local tonality.

13

Traditional Pitch Collections in Stanze

EXAMPLE 3

Modal Pitch Collections in Stanze

14

The entire stanza is governed by a juxtaposition of E and the low drone of A (mainly A2). First hints are found in the 12-tone chords of mm. 1 and 6, where the contrabass and contrabassoon play E2 while the tuba and 3rd trombone play A2. An explicit manifestation of the E-A pair appears at mm. 11 to 15 (EXAMPLE 3, EXAMPLE 4), the first measures of the text, where the baritone swerves between E4 and A2, at the extremes of his range.

EXAMPLE 4

This duality repeats itself many times throughout the stanza, as A2 gradually establishes itself as a more or less tonic note. Meanwhile, the MPCs glimmer above the long bass lines. The following table (EXAMPLE 5) shows considerable correspondence of the MPCs with the E-A duality. Six of the twelve occurrences are based on A, the two pure ones are of major quality. Three are based on or affiliated with D minor and four are based or affiliated with E.
Location Pitch collection Root/chord Mode May be affiliated with 2 9 10, 2nd beat to end 16, 2nd beat [2,4,5,7,9,11,0] (0,2,4,5, 7,9,11) [3,8,10,0,1,5,7] [8,11,0,2,3,7] D No clear root E A Mixolydian Lydian (Sounds as a temporary "tonic" after E Mixolydian 26, 1st beat to 26, 3rd beat [2,4,5,7] D Dorian or Aeolian Superimposed on: [3,5,10,2] 32, 2nd beat 37, 2nd beat [9,11,0,4,6] [9,11,0,2,4,6,7] E(9)Maj7 Am9,13 A Dorian E Ionian A Dorian Some external tones Some external tones Superimposition Dorian D Dorian Superimposed on external background Some external tones Some external tones Some external tones Purity of occurrence

15
47, 7th beat 55, 4th beat 60, 1st beat 86, 2nd beat 104, 2nd beat to 105 [9,11,1,2,4,6,8] [7,8,10,0,3,2,5] [9,11,0,4,6,8]

Modal Pitch Collections in Stanze

A B A Ionian Mixolydian melodic minor [9,11,1,2,4,6,7] [9,10,1,2,4,6,7] A A Mixolydian Mixolydian Pure Some external tones E Ionian Pure Some external tones Some external tones

EXAMPLE 5

Some of the MPCs appear by way of gradual emergence, either by clearing external notes of a super-set, leaving the notes of the MPC (mm. 2, EXAMPLE 1) or by leading voices into it and through (m. 86, EXAMPLE 6). Yet most MPCs appear as independent spots, with no apparent voice leading into or from them (mm. 26, 1st beat to 26, 3rd beat, 32, 2nd beat, 47, 7th beat, 55, 4th beat, 60, 1st beat, 86, 2nd beat). An extreme example is m. 47, 7th beat (EXAMPLE 9): the chord is constructed mostly by solitary eighth-notes, after few beats of silence (oboes, English horn, saxophones) or skipped into (horn 3, trombones 1,2). The A2 drone in the low strings cannot really account for continuity of voice leading, as it is introduced many measures before and stretched further after. Moreover, the MPC is abruptly neglected in favor of the grating noise of the strings and newly introduced instruments. Introducing the MPC as a secluded, detached phenomenon contributes to its singularity. Berio uses disintegration and discontinuity in other elements of his compositions as means of emphasizing other elements17. In this case it could be the singularity of the MPCs. On the other hand, the means of seclusion rhythmic isolation and lack of voice leading are not singular to the MPCs in this stanza, but pertain also to non MPCs. The conclusion cannot then be absolute. The concentration on A, E and D, and particularly the dualism of the blatant juxtaposition of A and E, may suggest a musical metaphor to the text: the ambivalent attitude towards the Lord; that of somber death and wretched decay, along with an anticipation for union.
17

Flynn 1975, p. 404

Traditional Pitch Collections in Stanze

16

EXAMPLE 6

17

Traditional Pitch Collections in Stanze

EXAMPLE 7

Modal Pitch Collections in Stanze

18

In mm 32, 2nd beat (EXAMPLE 7), for the first time since the text appeared in the composition, occurs a MPC [9,11,0,4,6], that can be interpreted as a part of A Dorian. It is tinged by few notes of C but with no considerable disturbance to the minor temper of the pitch collection. This occurrence is very lucid: it occurs right after a salient whole note A3, on which the baritone sings "Herr" and doubled by the bass clarinet, a bassoon and acontrabassoon. It is the third occurrence of the monosyllabic word "Herr", and as the precedent times, it is uttered with a mezzo forte A3.
EXAMPLE

8 compares the ambiance in which the word "Herr" appears for the three

first times. When it first appears (m. 14), it is doubled by the bass clarinet, two trombones and tuba, yet surrounded by a rather alien environment. Compared to this occurrence, the second time (m. 20) is even clearer, as the baritone is now doubled by two trombones, tuba, celli and contrabass. However, it is answered by two distant pitch collections: [5,0,3,4,6,8] and [5,6,7,9,0,1,3]. What makes the third time (m. 32) so powerful is indeed the pitch collection that answers and joins the A3 to a sorrowful A minor body of notes. This MPC has thus gained its consequence by a gradual growth, in a process of conditioning. The stanza has presented us so far with a fairly large range of sets and emotions, but this time it seems almost tonal. An examination and comparison of the text in the examined instances shows a similar development. The first appearance is "Nah sind wir, Herr" ("We are near, Lord"); the second time emphasizes the inescapable fate: "Gegriffen schon, Herr" ("Handled already, Lord"); and the third time is the ultimate prospect of union: "als wr der Leib eines jeden von uns dein Leib, Herr." ("as though the body of each of us were your body, Lord."

EXAMPLE 8 Three first appearances of the word "Herr" at mm. 14, 20, 32, baritone and orchestra (some notes are spelled enharmonically)

19

Modal Pitch Collections in Stanze

The MPC at m. 47, 7th beat, a brief eighth, is one of the shortest MPC occurrences in the composition, yet a powerful one (EXAMPLE 9). It is well illuminated by contrast to its environment by change of orchestration, avoidance of voice leading (when several instruments participate in neighboring chord) and especially, a change of pitch collection. This pure collection of A Ionian is preceded by [9,11,0,1,3,4,5,8] and followed by [0,1,2,3,4,5,7,8,9], detached even further by the horrific noise that is produced by the strings. The MPC appears on the word "war" in "Es war blut" ("It was blood"), as if sweetening the assertion that it was indeed blood, or emphasizing by sharp contrast the terror of the word 'blood'. A fairly substantiated interpretation to the constant hovering of the MPC and pitch sets in general over a constant drone may reflect the hesitant advance to a known, unavoidable target. Six MPCs based on A occur starting at m. 32, at a point where A is also established as the insuperable bass note. This constancy dominates practically three quarters of the stanza and it is beautifully emphasized, again by way of contrast, when the A2 drone is challenged at the very end by the tuba, with an even lower E. The question whether the MPCs in the stanza comprise an independent sub-structure should remain open, as the gaps between their appearances are wide and connections among them should be better proven. Their graphic representation may be interpreted as having a logic that is coherent to the structure of the stanza, but it hardly withstands the test of the ear. A thorough and comprehensive analysis of all other tone sets may be needed in order to sustain such conclusions.

Traditional Pitch Collections in Stanze

20

EXAMPLE 9 m. 47-7

21

Modal Pitch Collections in Stanze

Stanza II The train is leaving

Giorgio Caproni Congedo del viaggiatore cerimonioso (Complete, original text) Amici, credo che sia meglio per me [meglio per me] cominciare {a} tirar gi la valigia. Anche se non so bene lora darrivo, e neppure conosca quali stazioni precedano la mia, sicuri segni mi dicono, da quanto m giunto allorecchio di questi luoghi, chio vi dovr presto lasciare. Vogliatemi perdonare quel po di disturbo che reco. Con voi sono stato lieto dalla partenza, e molto vi sono grato, credetemi, per lottima compagnia. Ancora vorrei conversare a lungo con voi. ma sia. Il luogo del trasferimento lo ignoro. Sento per che vi dovr ricordare spesso, nella nuova sede, mentre il mio occhio gi vede dal finestrino, oltre il fumo umido del nebbione che ci avvolge, rosso il disco della mia stazione. Chiedo congedo a voi senza potervi nascondere, lieve, una costernazione. Era cos bello parlare insieme, seduti di fronte: cos bello confondere i volti (fumare, scambiandoci le sigarette), e tutto quel raccontare di noi (quellinventare facile, nel dire agli altri), fino a poter confessare quanto, anche messi alle strette, mai avremmo osato un istante (per sbaglio) confidare. (Scusate. una valigia pesante anche se non contiene gran che: tanto chio mi domando perch lho recata, e quale aiuto mi potr dare poi, quando lavr con me. Ma pur la debbo portare, non fosse che per seguire luso. Lasciatemi, vi prego, passare. Ecco. Ora chessa nel corridoio, mi sento pi sciolto. Vogliate scusare). Dicevo, chera bello stare insieme. chiacchierare. Abbiamo avuto qualche diverbio, naturale. Ci siamo ed normale anche questo odiati su pi dun punto, e frenati soltanto per cortesia. Ma, cosimporta. Sia come sia, torno a dirvi, e di cuore, grazie per lottima compagnia. Congedo a lei, dottore, e alla sua faconda dottrina. Congedo a te, ragazzina smilza, e al tuo lieve afrore di ricreatorio e di prato sul volto, la cui tinta mite s lieve spinta. Congedo, o militare (o marinaio! In terra come in cielo ed in mare) alla pace e alla guerra. Ed anche a lei, sacerdote, congedo, che mha chiesto sio (scherzava!) ho avuto in dote di credere al vero Dio. Congedo alla sapienza e congedo allamore. congedo anche alla religione. Ormai sono a destinazione. Ora che pi forte sento stridere il freno, vi lascio davvero, amici. Addio. Di questo, sono certo: io son giunto alla disperazione calma, senza sgomento. Scendo. Buon proseguimento.

Modal Pitch Collections in Stanze

22

Giorgio Caproni Congedo del viaggiatore cerimonioso (Edited text of the stanza) Amici, credo che sia meglio per me tirar gi la valigia. Anche se non so lora darrivo. Vogliatemi perdonare del disturbo, che reco. Vorrei conversare ancora con voi. Ma ignoro il luogo del trasferimento. scusate Lasciatemi, vi prego, Lasciatemi passare. Congedo alla sapienza allamore. e alla religione. Ora che pi forte sento stridere il freno, vi lascio, amici. son giunto. Addio.

Giorgio Caproni Traveller's ceremonious leave (English Technical Translation) Friends, I believe it is better for me to pull down the suitcase. Although I do not know the time of arrival I would like Please forgive the disturbance that I cause. I would like to talk with you again But I don't know the location of the transfer Sorry Let me, please, let me pass. Farewell to the wisdom to the love and to religion. Now that I feel stronger the screeching brakes, I leave you, friends. I arrived. Goodbye.

The music of stanza II is very illustrative: the beginning resembles a train leaving the station as the low woodwinds and low brass imitate the heavy groan of wheels at their struggle for momentum, and swift staccato woodwinds emulate high whistling or screeches. A shouted exclamation "tirar gi la valigia" ("pull down the suitcase") is followed by the sounds of a busy station commotion, and from m. 132 a pair of maracas rattle incessantly for the larger part of the stanza, perhaps reproducing the sound of the running wheels. The three choirs, now set to work after being tacit at stanza I, often carry the most projecting examples of the discussed pitch collections. Even when their harmonic quality does not protrude clearly through the active and dense orchestration, they are assigned to a rather limited inventory of chords, among them quite a few with a modal quality.

23
Location Set

Modal Pitch Collections in Stanze

Root/chord A A D7sus A Locrian 2 Mixolydian Ionian/Mixolydian Dorian Dorian Mixolydian Superimposed on partially external background Some external tones Some external tones Mode May be affiliated with Purity of occurrence

109 to 110 113 132, 3 beat 133, 1st beat

rd

[9,11,1,2,4,6] [9,11,1,3,4,6] [2,6,7,9,0,] [9,11,0,2,3,7]

Ionian Lydian Mixolydian

Some external tones Some external tones Some external tones Pure

133 to 136

[0,5,8,10] [2,7,9,11] [8,11,1,4] [0,3,7,9]

C7sus4 G(9) Cm6 Cm6 D

Superimposed on partially external background

137

[2,7,9,11,0]

138 141, 2nd beat

[0,3,7,9,10/11] [0,1,5,8,10]

C F

Dorian/mel.min. Aeolian

EXAMPLE 10

Berio chooses to incorporate short samples of the long original text. The baritone enters with what sounds as the 3rd and 5th of an A major chord (EXAMPLE 11).

EXAMPLE 11 mm. 110 111

It is vanishing in favor of a long F, on which the baritone's A3 sounds a minor 3rd quite a tonal environment even if the baritone has wandered in alien surroundings of B, A and G. Another hint of the center quality of A may be found soon again, in m. 113 (

Modal Pitch Collections in Stanze

24

EXAMPLE 12),

but all in all, the stanza lacks a solid sense of tonality nor a clear

indication of a sub-structure of MPCs.

EXAMPLE 12

Measures 137-138 (EXAMPLE 13) are remarkable for their proportions, as each one of them contain long, undisturbed manifestation of two pitch collections: [2,7,9,11,0] D Mixolydian and [0,3,7,9,10/11] C melodic minor or Dorian. The text within them is: "(choir:) ...voi (baritone:) Vorrei conversare..." meaning "with you, I would like to talk". The combination of the pitch collections of this chord succession is [0,2,3,7,9,10/11], C Dorian or melodic minor, and the context suggests a special treatment of this certain part of the text. In the midst of the commotion, the two measures, especially the lengthy m. 138 with its two fermatas, sound like a yearning prayer or a chant. The human voice of the three choirs add to the warmth and affection of this instance. The occurrence of m. 141, 2nd beat (EXAMPLE 14) follows the same trend and again, in a long sustained chord of the choirs. But in fact, most of the stanza is spotted with the choirs' "warm" chords. The coda-like phrases of m. 174 to the end definitely lack any of these pitch collections and stays loyal to the 20th century dissonant sound. It can be concluded that the MPCs in this stanza do not necessarily constitute a considerable structure of their own, within the structure of the stanza. Rather, their role is of an expressive color, contributing to the illustrative character of this stanza.

25

Traditional Pitch Collections in Stanze

EXAMPLE 13

Traditional Pitch Collections in Stanze

26

EXAMPLE 14

27

Modal Pitch Collections in Stanze

Stanza III Promulgations of death

Edoardo Sanguineti (Complete, original text) e rispondendo ho parlato da un turbine: sono entrato nel profondo del mare: hai camminato nellabisso dellabisso? Guarda, c il terrore, in giro, intorno ai suoi denti: ecco, assorbir un fiume, tranquillamente: ma chi racconter quello che dico? ho dato un abito alla nuvola: tu non sapevi che dovevi nascere: ho deposto sapienza nelle viscere delluomo: al gallo, ho dato intelligenza: ho immesso il nitrito nel collo del cavallo: rispondi, tu, che ti interrogher: consolida la sua coda come un cedro, i nervi dei suoi testicoli stanno intrecciati: io lho fatto: e ho fatto te, io, insieme: chi pu resistere alla mia faccia? della sua faccia chi aprir le porte? la sua virt nellombelico del suo ventre: non aggiungere niente, se parli:

(Edited text of the stanza) Ho parlato da un turbine: sono entrato nel profondo del mare: Guarda, c il terrore, intorno ai suoi denti: ecco, assorbir un fiume, tranquillamente: ma chi racconter quello che dico? ho dato un abito alla nuvola: al gallo, ho dato intelligenza: ho messo il nitrito nel collo del cavallo: io lho fatto: e ho fatto te, io, insieme: rispondi, tu, che ti interrogher: chi pu resistere alla mia faccia? della sua faccia chi aprir le porte? non aggiungere altro se parli:

(English Technical Translation) I spoke by a whirlwind: I came in the deep sea: Look, there's terror, around his teeth: here, it will absorb a river, quietly But who will tell what I say? I gave a dress to the cloud: the rooster, I gave intelligence: I put the nitrite18 in the horse's neck: I have done: and I made you, I, along with: answer, you, who will question: Who can resist my face? of his face who will open the door? do not add more if you speak:

18

Either a salt or an ester of nitrous acid

Traditional Pitch Collections in Stanze

28

EXAMPLE 15

29

Traditional Pitch Collections in Stanze

EXAMPLE 16

Modal Pitch Collections in Stanze

30

The third stanza contains the least number of MPCs. However, the first noticeable appearances of modal pitch collections, in mm. 219 and 220 (EXAMPLE 15), are outstanding in their orchestrational and dynamic treatment. It may almost seem as if this exceptional treatment comes as a compensation for the scarcity of MPCs and moreover, as if the two minutes of preceding music was destined to be mere preparation for it. This is a bit of an exaggeration of course, but the contrast is indeed striking. After a pungent beginning, sown with clusters of chromatic sets, sharp diminuendos and crescendos, appears an MPC of smooth and sweet character: three trombones, tuba and a pizzicato bass construct a progression of three succeeding chords, repeated twice, starting with a B6 chord. Three saxophones and contrabassoon play eights in uniform, approaching and passing through the chords. The jazzy sound of this orchestration, with its playful rhythmic transposition, and the softening part of the baritone adds to the contrast and the uniqueness of these measures. The text in these two measures is "quello que dico?" ("what I say?"), sung by the baritone for the second and third time. The MPC's render the repeated question a warm and soothing air, and it is all the more affectionate after the surreal and impersonal images of the preceding text: whirlwind, the deep sea, absorb a river etc. The next recognized occurrence (228, 1st beat) is indeed pure, but brief and lacking distinction to the extent that it should hardly be included in this discussion. The last occurrence (EXAMPLE 16 239, 2nd beat to end) exemplifies the effect of the conductor's and/or the tone meister's decision; although the occurrence is tinged with two external notes (oboe B4, English horn E4), that may have created a strong alien interval of 5th, the overall sound is of an E Ionian or Mixolydian character. It is rendered by a cluster of the clarinets and the saxophones and the prevailing sound of the trumpet. As the rest of the MPCs in the composition, the main contributor to this MPC's uniqueness is the contrast to its environment. Examining the concise score and list of sets (EXAMPLE 17, EXAMPLE 18 the MPCs are highlighted by the thick line frame) shows that the MPC on 239, 2nd beat while tinged with external notes, yet less dense a cluster than its neighboring chords:

31

Modal Pitch Collections in Stanze

EXAMPLE 17 mm. 235 to 241 (the thick vertical line indicates a chromatic cluster)

List of sets in mm. 235 241 Measure-beat 235 to 237 236, 3 beat to 238 236, off 3 beat 237, 1st beat 238 to 239 239, 2nd beat 239, 4th beat 240, 3rd beat 241, 2nd beat
rd rd

Set [7,8,9,10,110,1,2] [7,8,0,1] [4,5,6,7,8,9,10,11,0,1] [twelve-tone] [4,5,7,8,9,10,11,0] [3,5,7,8,10,0] [1,3,5,7,8,10] [9,0,1,2,3,5,7,8,9,10,11] [0,1,2,5,7,8,10]

External notes

[4,9,1] [4,9,1]

EXAMPLE 18 the MPCs are highlighted by the thick line frame

The tone character of the MPC, as well as its unique texture, dynamics and articulation, provide suspense to the text. The MPCs in this stanza function as a leitmotif, emphasizing the warm, personal trait in the text. The main MPCs (219, 2nd

Modal Pitch Collections in Stanze

32

beat, 220, 1st beat, 239, 2nd beat, EXAMPLE 19) correspond one with another, both textually and musically: B6 and E Ionian are indeed tonally related pitch collections.

Location 219, 2nd beat 220, 1st beat 239, 2nd beat

Pitch collection [10,2,5,7] B6 [10,2,5,7] B6 [3,5,7,8,10,0] E Ionian/Mixolydian

Text "quello che dico?" ("what I say?")

"rispondi, tu" ("answer, you")

EXAMPLE 19

Stanza IV Another face of god

Alfred Brendel
The news that in the Tritsch-Tratsch Polka a very cheerful piece of music the news that the Holy Ghost lay lurking was not for some of us entirely unexpected. Confirmation of our suspicions was supplied by a certain Alois, who's razor sharp ear detected in the waltz King's opus two hundred and fourteen detected the unmistakable voice of god Spurred on by Alois We have since found ourselves in brisk two-four polka tempo heading straight for the Almighty blissfully traversing his eighteen or was it thirty three celestial spheres which now one after the other open up before us granting entry to all those dancing in Alois's wake encouraged now and again by a clip on the ear a source of spiritual inspiration to be sure while still keeping strictly, or stritchly in step left right Nothing must disturb the sense of harmony Since both proffered cheeks glow so radiantly why not present one's back as well on which Alois, trisch-trasch, might crack his whip

33

Modal Pitch Collections in Stanze

Stanza IV is unique in its mischievous and energetic air; the quick tempo, the circuspolka-like rhythms and the jazzy voicing and phrasing, all make the stanza stand out, and convey the text in a relatively light manner. Alfred Brendel's burlesque refers to Johann Strauss' Tritsch-Tratsch Polka19 (op. 214, 1858) and Berio certainly joins that step. Whether jovial, satirical or sardonic, the mentions of the holy entities are treated quite differently of those of the somber, melancholy mood of stanza I. In stanza I the word "Herr" (lord) was colored with a poignant A3 note. Here, in stanza IV, the mention of the holy ghost is adorned with Fellinisque, jolly scampering notes of MPCs of the Lydian mode. It is first heard in mm. 297 to 300 and in m. 301 with E Lydian and D Lydian respectively (EXAMPLE 20 , later, at 413 to 417 and 418 to 419, both in E Lydian (EXAMPLE 21), and finally at mm. 445 to 453 (EXAMPLE 22), by far the longest occurrence of the entire composition, with a G Lydian. These occurrences are the most extended in the composition.

19

A title which in itself is said to refer to a light subject: the Viennese passion for gossip

Traditional Pitch Collections in Stanze

34

EXAMPLE 20

35

Traditional Pitch Collections in Stanze

EXAMPLE 21

Traditional Pitch Collections in Stanze

36

EXAMPLE 22

37

Traditional Pitch Collections in Stanze

(continued)

Modal Pitch Collections in Stanze

38

The following table (EXAMPLE 23) confirms a constant correlation between the Lydian MPCs and expression of heavenly spirits: "The Holy Ghost", "Ghost", "Almighty", "other open up before us, granting entry to...". The exception in this group of MPCs is the A Lydian 5, which continues the accompaniment of the word "Almighty" in mm. 420 to 421.
Location Pitch collection 297 to 300 301 344 to 347 348 to 352 413 to 417 418 to 419 420 to 421 428 to 429 430 to 431 445 to 453 [3,5,7,9,10,2] [1,3,5,7,8,10,0 ] [2,4,5,9,10,0] [2,4,6,7,9,1] [3,5,7,9,10,0,2 ] [10,0, 2,3,5,9] [8,10,0,2,4,5] [4,7,10,2] [9,10,2,4,7] [7,9,11,1,2,4,6 ] [9,11,1,2,4,6] E D D D E E A E half-dim A7sus4 (9) G Lydian Lydian Lydian Aeolian harmonic minor Lydian Lydian Lydian 5 Locrian Phrygian/ Mixolydian (26) Root/chord Mode May be affiliated with "The Holy Ghost" "Ghost" "Alois" "...razor sharp ear detected..." "straight to the almighty" "Almighty" "Almighty" "his eighteen" "or was is thirty three" "other open up before us, granting entry to..." (No text)

602 to 603, 1st beat

Ionian/Mixolydia n

EXAMPLE 23

The rest of the MPCs are D minor Aeolian and harmonic minor and an A major mode. The two D minor modes appear in sequence and may be referred to as one long minor-mode occurrence. They accompany the first mention of a character named Alois, who's role is not entirely clear, but following the assumptions just made, may be interpreted as an earthly character.

39

Modal Pitch Collections in Stanze

Stanza V final recognition

Dan Pagis Original Hebrew version . , , : .

German translation by Anne Birkenhauer Mit groen und fremden Augen und gebrochener Stim werden die Toten sich versammeln am Rand der Grben. Langsam von jenseits der Linie des Schreckens her werden sie kommen, Reihe fr Reihe und von Ensetzen geschlagen mit aufgerienen Mndem schweigen: Wer wei, wer verflucht und wer gesegnet im verbrannten Staub.

English translation by Ittai Rosenbaum With large and foreign eyes And with broken forehead At the edges of the trenches they shall gather, the dead. Slowly, beyond the line of terror Columns, columns they'll come forth, And stricken with horror. Agape, silent they will fall: It is unknown who's cursed, who's blessed In the scorched earth.

In contrast with the extravagant stanza IV, stanza V is characterized by slow and gradual conception of long chords, and a slow tempo ( = 68) that reminds that of the opening stanza. The stanza is saturated with many fragments of MPCs that are not substantial enough to be defined as considerable occurrences. Moreover, these fragments are numerous enough to make any considerable MPC unexceptional. It is best exemplified in m. 628 (EXAMPLE 24), as the choir and baritone outline a seemingly Edim , resolving into a first inversion of E. But a closer look into the score reveals too many external notes, notably the C3 of the baritone in 629, 1st beat.

Traditional Pitch Collections in Stanze

40

EXAMPLE 24

41

Modal Pitch Collections in Stanze

Most of the MPCs are of the minor modes, and the major modes appear only at the closing section (mm. 660 to 674), after the brief ff explosion at mm. 654 659. Even then, they are not conspicuous due to the circumstances just mentioned.
Location 611, 1st beat 611, 4 beat 612 615, 1st beat to 615, 3rd beat 648
th

Pitch collection [7,9,10,2] [3,5,6,9,10,1] [8,10,11,1,3,5,7] [3,5,6,9,11,1]

Root/chord Gm9 E A E C

Mode

May be affiliated with minor

Purity of occurrence Pure pure Pure Some external tones

Mi Shebeirach melodic minor Locrian 2 melodic minor

[0,2,3,7,9,11]

Pure (transitory B4, D5 in t.sx)

649 651, 2nd beat

[5,7,8,10,0,2,3] [10,1/2,5,7]

F Bm6 or B6

Mi Shebeirach Dorian or major

Pure Superimposed on external background Some external tones Some external tones

653, 3 beat 662, 4th beat

rd

[0,3,6,8,9] [3,7,9,10,1]

A E Lydian 7

Mixolydian 2

As in the whole work, connections between the MPCs are not clear cut, but they do exist to an extent that should be mentioned and recognized. First, the roots of the modes are quite close in their relative placement on the circle of fifths, notably (and absolutely audible) C, F and B in mm. 648 651 (EXAMPLE 25). Second, the color of the modes is gradually evolving: starting from minor modes, with slight deviation of the Locrian 2, into an ambiguous Dorian or major in m. 651, and finally settling on two clearly major modes. Eight of the nine MPCs in the stanza are executed by a choir, rendering them, and the stanza in general, an air of a traditional choral sound. In the context of this particular text and tempo, these instances resemble fragments of slow movements of sacred choral music, particularly of a Requiem. Following that allusion, the abrupt transition from the solemn mm. 648 to 653 to the tempestuous mm. 654 659 (EXAMPLE 25) resembles the Requiem's transition from a Kyrie into a Dies Irae. This is a fairly simple associative link to traditional music but highly appropriate to the closing stanza; an episode of a somber, realistic and macabre recognition.

Traditional Pitch Collections in Stanze

42

EXAMPLE 25

43

Traditional Pitch Collections in Stanze

(continued)

Modal Pitch Collections in Stanze

44

Summary
Stanze's modal pitch collections are defined and traced in this study according to certain exclusive characteristics: the intervalic features that distinguish them from other pitch collections in this work. Their uniqueness having the intervalic quality of the traditional modes evokes a distinctive emotional attitude and a certain cultural and stylistic association. Yet, the MPCs are scattered, and as shown in the Table of Occurrences, usually glimmer for short instances, separated one from the other by large spans of time. However, despite their spacious distribution, there is a consistency and homogeneity in their presence; the inventory of MPCs in each stanza is limited to several modes, sometimes limited just to several pseudo-tonic-roots. Also, their relations to the text is obviously intentional both in their placement and their constitution.

The implications of combining disparate elements within a single work is of methodological importance20. An analysis facilitates the unraveling of a structure, and intends to narrate a conceptual map to which one can relate and orient to. Exploring the connections between disparate elements makes a prominent contribution to the analytical process, especially in an eclectic musical environment. The examination of the disparate MPCs in Stanze serves as a vehicle for approaching Berio's treatment of a conceptual subject; in this case, the subject of death. It does so by stressing a certain predisposed "understanding" between the listener and the composer: Berio is using a compositional element, the Modal Pitch Collection, to which the listener may have a certain, specific attitude. Such statement may seem a triviality, as certainly a listener's knowledge and affiliation with any component of the composer's musical language is fundamental for understanding and relating to the composition. But it is not that obvious in music that is defined as avantgarde, and created by a composer known for experimentalism and sophistication. In Stanze, the disparate MPCs, as they stand out in their surroundings, challenge the listener's affiliation to and association with the traditional sound and its cultural charge. The sound of the MPCs makes them function as anchors of relative traditionality among the sea of pitch collections. Their shared cultural trait suggests sub-structures within each stanza, and indeed have been
20

Losada 2009

45

Modal Pitch Collections in Stanze

demonstrated to exist in stanzas I, III, IV and V. The sound of the MPCs is a layer of audible stimulation, created by the constant and consistent appearances of the MPCs. Its effect, even if not that of a decisive structure, is intriguing to such an extent, that it should be highlighted and studied, raising new, additional questions rather than provide a conclusive answer.

Modal Pitch Collections in Stanze

46

References
Preface 1. Hans Redlich, Alban Berg: Versuch einer Wilrdigung, Universal Edition, Vienna 1957, pp. 311-27 Luciano Berio 1. Berio Osmond-Smith, David , Oxford University Press, 1992 2. Listening to Berio's Music George W. Flynn. Source: The Musical Quarterly, Vol. 61, No. 3 (Jul., 1975), pp. 388-421, Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/741321 3. 'Music Is Not a Solitary Act': Conversation with Luciano Berio Theo Muller and Luciano Berio Source: Tempo, New Series, No. 199 (Jan., 1997), pp. 1620 Published by: Cambridge University PressStable URL: http://www.jstor.org/stable/945526 4. Berio, Luciano The Grove music Online, editor: David Osmond-Smith (Biography updated 27 Aug 2003) 5. Berio's discussion of "Form" in The Modern Composer and His Work, ed. John Beckwith and Udo Kasemets (Toronto, 1961), pp. 140-45; 6. "The Composer on His Work" (written by Berio) and "Berio: New Things to be Heard in New Environments" (interview); Christian Science Monitor, July 15, 1968. Harmony and texture 1. Phantom Rhythms, Hidden Harmonies, Berios Sequenzas, Essays on Performance, Composition and Analysis, Edited by Janet K. Halfyard, (Ashgate Publishing 2007) The use of the Sostenuto Pedal in Berio's Seqenza IV for Piano, Leaf and Sonata Zoe Browder Doll, pp. 53-66 Sonic Complexity and Harmonic Syntax in Seqenza IV for Piano Didier Guigue and Marcilio Fagner Onofre pp.209-232 ...and so a chord consoles us: Berio's Seqenza IIIX (Chanson) for Accordion Thomas Gartmann, pp. 273-290 2. Remaking the Past, Music Modernism and the Influence of the Tonal Tradition Joseph N. Straus, Harvard University Press, 1990 3. Meyer, Leonard, and Burton Rosner. 2000. Melodic Process and the Perception of Music. In The Spheres of Music,14685. Chicago: University of Chicago Press. 4. Cinquante Ans de Modernit Musicale: de Darmstadt a l'IRCAM Clestin Delige, chapitere 24: Luciano Berio Initiateur d'un Expressivit, pp. 477490, Pier Mardaga 2003 5. Listening to Berio's Music George W. Flynn, The Musical Quarterly, Vol. 61, No. 3 (Jul., 1975), pp. 388-421 6. Avi Bar-Eitan The Steiger Ahavo Rabo In Klezmer Music, (Master's thesis, the Hebrew University 2004), pp. 6.

47

Modal Pitch Collections in Stanze

Other aspects in Berio's compositions 1. Meyer, Leonard. 1956. Emotion and Meaning in Music. Chicago: University of Chicago Press. Repr. 1974. 1973. Explaining Music: Essays and Explorations. 2. Berkeley: University of California Press. 3. 'Music Is Not a Solitary Act': Conversation with Luciano Berio Theo Muller, Luciano Berio, Tempo, New Series, No. 199 (Jan., 1997), pp. 16-20 4. Musical Decay: Luciano Berio's "Rendering" and John Cage's "Europera 5" David Metzer, Journal of the Royal Musical Association, Vol. 125, No. 1 (2000), pp. 93-114 5. Text, Music, and Meaning in the Third Movement of Luciano Berio's Sinfonia Michael Hicks, Perspectives of New Music, Vol. 20, No. 1/2 (Autumn, 1981 - Summer, 1982), pp. 199-224 6. Between Modernism and Postmodernism: Strands of Continuity in Collage Compositions by Rochberg, Berio, and Zimmermann C. Catherine Losada, Music Theory Spectrum, Vol. 31, No. 1 (Spring, 2009), pp. 57-100 7. J. Peter Burkholder, Types of borrowing, Grove Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/52918pg1? q=borrowing+burkholder+berio&hbutton_search.x=0&hbutton_search.y=0&h button_search=search&source=omo_t237&source=omo_gmo&source=omo_t 114&search=quick&pos=1&_start=1#firsthit 8. Lucian Berio:Two Interviews With Rossana Dalmonte and Balint Andris Vargat, translated and edited by David Osmond Smith (London:Marion Boyars,1985). Stanze 1. Andrew Clements, The Guardian, Friday 5 August 2005, http://www.guardian.co.uk/music/2005/aug/05/classicalmusicandopera.shoppi ng3 2. Bruce Hodges, Seen and Heard International, MusicWeb's Live Opera and Recital Reviews, Review of the New York premiere at Carnegie Hall, January 18, 2005. http://www.musicweb-international.com/SandH/2005/JanJun05/berio1801.htm 3. Richard Whitehouse Review of Omaggio: A Celebration of Luciano Berio Philharmonia Orchestra/Valade UK premiere of Stanze (20 April) http://www.classicalsource.com/db_control/db_concert_review.php?id=1802 4. http://www.independent.co.uk/arts-entertainment/music/reviews/omaggio-acelebration-of-luciano-berio-royal-festival-hall-london-560856.html Additional information 1. Polka The Grove music Online, editor: Jane Bellingham 2. Dies Irae, settings since 1700 The Grove music Online, editor: Malcolm Boyd