Stuart Greenbaum: Sonata for Piano, 4–Hands Analysis by ... · Reich refers to this technique as...
Transcript of Stuart Greenbaum: Sonata for Piano, 4–Hands Analysis by ... · Reich refers to this technique as...
Greenbaum:SonataforPiano,4–Handsanalysis,pg.1
StuartGreenbaum:SonataforPiano,4–HandsAnalysisbythecomposer23March,2016
background
InSeptember2012,BrisbanepianistLiamVineycontactedmeaboutthepossibilityof
writingaworkforhimandhiswife,AnnaGinberg,whoformtheViney–GrinbergPianoDuo.
IsubsequentlymetupwithLiamandAnnaandwediscussedtheideaofaworkfortwo
pianos,butultimatelyagreedonaworkforonepiano(4hands).Weweresuccessfulin
procuringanewworkcommissionthroughtheMusicBoardoftheAustraliaCouncil,andthe
workreceiveditspremiereattheAustralianPianoDuoFestivalinBrisbaneon23August
2014.
TheVineyGrinbergPianoDuohavesincegivennumerousperformancesofthework
includingwithlivedancechoreographybyLouiseDeleurfortheQueenslandBallet’s2015
DanceDialoguesseason(4Hands12Feet).
Greenbaum:SonataforPiano,4–Handsanalysis,pg.2
pianosandhands
Ihadpreviouslywrittenashorterworkfortwopianos–ForEver(2000)–andmanyworks
forsolopiano;butatthatstagenotyetaworkfortwopianistsattheonepiano.This
presentsdifferentopportunitiesanddifferentchallenges.
Theadvantageofthe4–handmediumisthatmanyvenuesonlyhaveonepiano–orperhaps
havetwopianosbutnotbothgrandormatching.Rehearsalandtouringaremorepracticalif
onlyonepianoisrequired;andthereisalonghistoryof4–handarrangementsandshort-
scoresoforchestralrepertoirethatformanyyearsenabledsymphoniesandballetscoresto
bedisseminatedinintimate,practicalways.The4–handmediumalsoencouragesawide
tessiturawithrichvoicing.
Thatwidetessituraisalsoachallenge–especiallyforlongerworks–becauseitisalltoo
easyfor4–handwritingtobetexturallydense,registrallyunvariedandtooloud,toooften.
Additionallyoneneedstobemindfulofthebassendpianist’srighthandtanglingwiththe
trebleend’sleft(thoughsomerepertoirepiecesplayonthatentanglementcleverlyand
entertainingly).Inanyevent,thesewerewelcomechallengesincontemplatinghowbestto
exploitthemedium.ThisSonataforPiano,4Handspresentsthreedifferentapproachesto
thechallengesof16fingersand4thumbsplayingattheonekeyboard.
Greenbaum:SonataforPiano,4–Handsanalysis,pg.3
GreenbaumSonataProject
Ididnotintendtowriteasonatafromtheoutset,thoughastheworkprogresseditbecame
clearerthatthe20–minute,3–movementformwasturningoutinthisfashion.Aswithmy
othersonatas,noneofthemovementsareactuallyin‘SonataForm’.Post-minimalismwould
beacloser(ifnotcomplete)description.Iusethetermsonatainthemostbasicsenseof‘a
pieceplayed’(asopposedto‘apiecesung’)andconnectingtoacontinuumoflarge-scale
recitalworks.TheSonataforPiano,4–Handsisthe3rdinasequenceof9sonatas(asatthe
timeofwriting:2016)withtheultimateaimofwritingasonataforeverymajororchestral
instrument(ofwhichtherearearound20).Hindemithnotablydidthisandatthehalfway
markofthismajorundertaking,itstillseemsaworthymission.
Thissequenceofsonatas,whichformerepresentstheGreenbaumSonataProject,are
eitherprogrammaticallyconcernedwithourEarthanditsplaceinthelargerUniverseorin
somecasesaremoresimplyabsolutemusic.
programmaticcontext
Runninginparalleltothelogisticpuzzleofdealingwith16fingersand4thumbsisa
contemplationin3movementsoftheSunandEarthinthecontextofanexpandinguniverse:
I.Solar II.TheExpandingUniverse III.Earthrise
LifeonEarthissupportedbytheuniquenatureofourSun(ayellowdwarf)andourdistance
fromit.Recentobservationsofclimatechangeunderlinethetenuousnatureofthis
existence.Itisanticipatedthatoursunwillbecomearedgiantinanother5billionyearsand
Earthwouldeitherbeswallowedbythesun,oritswaterboiledawayalongwiththe
atmosphere.
TheExpandingUniverseisatheoreticalpremiseconnectedtothecosmologicalmodel
knownastheBigBang–acontinuousexpansion,coolingandthinningoutofthematterthat
constitutestheuniverse.
Greenbaum:SonataforPiano,4–Handsanalysis,pg.4
EarthriseisthenamegiventoaphotographoftheEarthtakenbyastronautWilliamAnders
in1968duringtheApollo8mission.ItshowsjustoverhalfoftheEarthabovethehorizonof
themoon–areversalofwhatwewouldnormallyseeoftheMoonaboveourownhorizon.
Thiscaptivatingimage–describedasthe“mostinfluentialenvironmentalphotoevertaken”
–evokesasenseofthebeauty(butalsofragility)ofourhomeplanet.
I.Solar
Theopeningtwobarspresentsa24–notequaverpatterncreatedbyalternatingasequence
of3pitchesinthelefthandagainst4pitchesintheright:
Example1:Solar,sketchforopening
ThisfirstsketchfromDecember2012showshowthenotesaredividedbetweentwohands
onagrandstaffandthentheresultantlinecreatedbelow.
The7pitchesformanascendingmelodicminorscale(orjazzminorscale)inCthatjumpsup
anddownincontourforthefirst17notes,thennaturally(bypermutation)presentsthe7
pitchesasarisingscale.ThisisatechniqueIhaveusedpreviouslybuthasitsoriginsinSteve
Reich’sPianoPhase(1967)whichsets3notesinthelefthandagainst2intheright(creating
a12–notepattern).Reichreferstothistechniqueas‘drummingatthekeyboard’.4against3
isanaturalexpansionofthesametechnique,thoughitdoesincreasethecomplexityofthe
permutation.
Rightfromtheopeningbarsthemusicaleffectisintendedtoevokeimagesofsolarflares
burstingfromthesuninradiantheat.Initiallyasanexplosionofsoundwiththepedaldown,
Greenbaum:SonataforPiano,4–Handsanalysis,pg.5
andthenfrombars3–4withthepedalreleased,lowerchordstillhelddownandupper
patternplayingsoftlyinstaccato:
Example2:Solar,opening
Thisisintendedtoprovideaghostinghalooreclipse-likecontrast.It’salsoatechnical
responsetothechallengesofwritingforpiano4-hands.Thiseffectcanbecontrolledquite
easilywithtwoplayersattheonepianoandexploitsasortof‘depthoffield’inthesound
world,wherethe4-handsmediumcanquicklybecomeoverlyforegrounded.
ThesustainedchordsinPiano2areoftensuspendedharmonies.Thevoicingabovehasan
added9thand11thbutno3rd.Thesesustainedchordsarepunctuatedbysyncopated
anacrusisfigureslikethatfoundatbar8:
Example3:Solar,Piano2,syncopation
TheinfluenceofPinkFloyd,andspecificallyRichardWright’smoody,atmosphericelectric
pianointheopeningofSheep(Animals,1977)isapparent.
Greenbaum:SonataforPiano,4–Handsanalysis,pg.6
Theopening24–notepatterngeneratedfromthe7pitches(4against3)formsthebasisofa
seriesofvariationsthatdefinethe1stmovement.Threedaysafterthecompositionofthe
pattern,ideasforpossiblevariationswerenoteddown:
Example4:Solar,sketchedideasforvariations
Mostoftheseideasfoundtheirwayintothestructure(includingreversenotepatterns,
compressedpatternlength,resultingpatterns,modulationandhemiolavariation).Other
variationsaroselaterincludingaugmentationandpalindromicphrasing,butallmaterialis
drawnfromtheoriginal24–quaverpattern.Anoverviewofthestructurecanbeseenasa
proportionalchartandmightbeviewedasa‘developingvariation’form:
Example5:Solar,developingvariationstructuralchart24-quavermotive chords–contrarymotion transition
retrograde compression retrograde compression augmentation palindrome/polyphony recapitulation
chords–contrarymotion transition coda
TheintroductionofthethemeinretrogradeatletterD(modulationtoEminor)presentsthe
7–notescalenowindescentfollowedbythejumpingcontouroftheremaining17notes.
Greenbaum:SonataforPiano,4–Handsanalysis,pg.7
Additionally,afterthetwo–barretrogradethepatterndoesnotrepeatinthesameregister
butcontinuesitsdescentdovetailingfromplayer1toplayer2:
Example6:Solar,LetterD
Thiscreatesalonger4–barphrasewithbassnoteandupperregisterchordswovenaround
themovingquaverline.AtletterE,themusicagainmodulatesupamajor3rd–thistimeto
Abminor.Thedovetailed4–barphraseremainsbuthasbeencompressedsothatevery
secondbarisin6/8(ratherthan12/8).Thecombinationofthephrasecompressionand
modulationaredesignedtokeepthemomentumgoing:
Example7:Solar,LetterE
LetterGpresentsthefirstbaroftheretrogradeandthenimmediatelypresentsthatin
reverseordertocreateamicro–palindrome:
Greenbaum:SonataforPiano,4–Handsanalysis,pg.8
Example8:Solar,LetterG,palindrome
Theslursarenotpalindromic,butthepitchandrhythmformanexactmirror.Thisisan
exampleof‘developingvariation’(asdistinctfrommoretraditionalthemeandvariations)
andformsthebasisofabuild–upinpolyphonyacrossthe4staves(4hands)leadingtoa
clearrecapitulationoftheopening.
FromletterM,anextendedcodasectionisbuiltaroundadoubleaugmentationofthe
retrogradeandare-orderedretrograde(withdescendingscaleatend):
Example9:Solar,LetterM,doubleaugmentation
Harmonically,theascendingminorpitchstructureholdsthroughout,thoughthevoicingof
chordsisoftenquartal(stacked4ths)ratherthantriadsandconsequentlythemusicismore
modalthantonal.Diatonicclusters(stacked2nds)arealsofeaturedprominently.Theoverall
modulationschemecanbechartedinroughproportionasfollows:
Greenbaum:SonataforPiano,4–Handsanalysis,pg.9
Example10:Solar,modulationchart
Ab Ab E E E
D C C C
TheopeningfirmlyestablishesaharmoniccentreofCbeforemodulatingupamajor3rdtoE
andthenupafurthermajor3rdtoAbandagainbacktoC.ThemovetoDhalvesthe
difference(movingbyamajor2nd),butstayswithinastructureofcentresconnectedby
wholetones.ThecodasectionfromletterMmovesbackuptoaharmoniccentreofE,and
thisisintendedtosubtlycreatea‘tobecontinued’impressionleadingintothesecond
movement(whoseharmoniccentreisE).
Theharmonicqualityofminortonalitiesmodulatingsymmetricallybymajor3rdsisalso
foundinthe3rdmovementofmySonataforViolinandPiano(2000).Withoutconsciously
copyingthat,thereferenceuponreflectiondemonstratesabasictruththatsuccessful
experimentsaremorelikelytoberevisited.
II.TheExpandingUniverse
Almosttwoweeksafterthe1stmovementwasstarted,apitchstructurewassketchedout
fora2ndmovement:
Example11:TheExpandingUniverse,pitchstructure
Greenbaum:SonataforPiano,4–Handsanalysis,pg.10
Thestructureisbasedonastringof9notes(6differentpitches)spanninganoctaveanda
5th(oraperfect12th)fromEtoB:
Example12:TheExpandingUniverse,non–octavingmode
Itisaminorscalewithaminor6thbutno7th(majororminor),sothereforeeitheran
incompleteAeolianmodeoranincompleteHarmonicminorscale.Theintervalofa12this
importantbecauseitcreatesanon-octavingmodethatisreplicated(transposed)bya12th
(notbyanoctave).Thisbranchesoutlikeacycleof5thscreatingadditionalpitches(C#,Bb,
DandG#).Intheory,thatcreatesasetof10pitches–thoughtheBbattheverybottomof
thesketchisneverused.Sotheoverallsetincludes9pitchesandmighttheoreticallybe
describedasnonatonic.
TheeventualpresenceofDnaturalatbar15(entryofpiano1)temporarilyestablishesa
completeAeolianmodeinE.Theremainingtwo‘outside’pitches(C#andG#)onlyappearin
thehigheroctaves(asdeterminedbytheoverallpitchsystemasafixedregisterchord)and
createsubtlebutimportantcrossrelations.The2ndmovementnevermodulates–staying
fixedinrelationtotheharmoniccentreofEthroughout.
Thenon-octavingmodespanningtheintervalofa12thfromEtoBprovidesthecoremotivic
threadfortheentiremovement.Atfirsttherearejust2notes,then3,4,5,6,8andthen(by
bar6)thefull9–notepitchspanisfullyrevealed:
Example13:TheExpandingUniverse,coremotive
Greenbaum:SonataforPiano,4–Handsanalysis,pg.11
Thisenfoldingfrom2notesupto9fansoutfromthemiddle–registrallyexpandingboth
higherandlower.Thefirst9semiquaversoutlinethenon-octavingmode(fromwhichallis
built)andthefollowing7semiquaversstartthesamesequenceforthefirst3notesbutthen
swaptheorderofpitches4+5andalsoswap6+7(pitches8+9areomittedsecondtime
around).Thisisasubtlebutimportantvariationdevice.
Inparalleltotheadditivenatureofpitch,theoverallphrasestructureofthe2ndmovement
isalsoadditive:
Example14:TheExpandingUniverse,phrasestructure
Thegreensectionsshow4barsofmotivicexpansionfrom2notesto6notes.Thelightblue
columnrepresentsabridging8–notebar(2/4metre)leadingtothecoremotivicthread
(showninExample13)of9+7notesmarkedindarkerblue.Thiscompletemotiveexpandsin
lengtheachtimeuntiladdingexpandedpatternsin5/4(markedinorange)andthen6/4
(markedinpurple).
ThismotivicexpansionismainlydelineatedinPiano2.Piano1takesadifferentmorefluid
melodicrole,whichmightperhapsbeinterpretedasourownhumanindividualjourneys
intertwinedwithinalargerUniversalcontext.Theseupperregistermelodiesaccess
transpositionsofthenon–octavingmodethatproducethe‘outside’pitchesofC#andG#.A
mid–movementexampleofthiscanbeseenatbars39–40:
Greenbaum:SonataforPiano,4–Handsanalysis,pg.12
Example15:TheExpandingUniverse,melodicinvention
HerePiano1ismovingmostlyindemi-semiquavertripletsandfreetremoloaffordinga
dance–likequality.
Thefinalsectionofthesecondmovement–letterF–startsoutthesameaspreviouslybut
leadstoafinalcodasectionfromletterGincontrarymotion:
Example16:TheExpandingUniverse,coda
Thisnewgesture(markedinyellowinExample14)getsabbreviatedinthenumberofnotes,
butthelengthofsustainonthefinalnotegetslonger.Thisregistralshapedeliberatelystarts
withbothplayersonaunisonC#andthenspreadsoutacrosstheentirepianokeyboardto
reflecttheexpandingUniverse.
Greenbaum:SonataforPiano,4–Handsanalysis,pg.13
III.Earthrise
Aftertwomovementsofsustainedminorharmoniccentres,thefinalmovementisalmost
entirelyinDmajorthroughout,aimingforareflectionofjoyatviewingthehomeplanet.It
startsandendsthatwayandonlythesecondandthirdoctaveepisodesshowmodal
alternationtotheminor(thoughstillfirmlyfixedinD).WhileclearlyinDmajor,theopening
chordvoicingsshowsuperimpositionofperfect5ths(Amajorandsuch),whichactas
harmoniccolour(likea12thstoponanorgan)thanactualbitonality.Butthiscolouris
presentthroughout.
Themovementisaloosethemeandvariationsbasedaroundan8–barmelodywith
harmonicaccompanimentfirstplayedbypiano2atletterA:
Example17:Earthrise,theme(piano2)withjazzchordsymbols
Here,themelodyiscompletelydiatonic.Thebasslineisalmostcompletelydiatonic(except
foronechromaticpassingnote).Theharmonyinbetweeniscompletelydiatonic.Yet,the
voicingissignificantlymorecomplex.Thejazzchordsymbolsshowchordsinallinversions
Greenbaum:SonataforPiano,4–Handsanalysis,pg.14
(root,1stinversion,2ndinversion)andwithadded7ths,9ths+11ths.Somechords,takenas
isolatedverticalsonoritiesaremoredissonantthantheoverallprogressionseemsata
surfacelevel.Theoverallimpressionismelodicand‘relatively’harmonicallystable:butthe
voicingsandrhythmicphrasingaremorecomplex–influencedbythecontemporaryjazz
idiomofPatMethenyandLyleMaysandthepopsensibilityofJamesTaylor.Additionally,
thefirsttwobarsoutlinetheintervalsofaminorseventhchord,probablyfoundincountless
popularsongsbutBacharach’s1968classicI’llNeverFallinLoveAgaincomestomind.When
writingthisthemeIwasnotthinkingofanyofthoseartists;butsharedmusicalDNAcanbe
observed.
Therhythmicphrasingmovesfromonbeattooffbeatquaverstothefollowingtwo–bar
phrase:ON_ON(ON)|offoffoffoff.Thethirdonbeatisinbracketsbecauseatthe
crotchetlevelitisanoffbeat(4thbeatofthebar).Thefrictionbetweenonandoffbeatsis
commoninLatinrhythmsthoughthiswouldnotappeartobeanexactcommonpattern.
Astructuralchartrevealsahybridofthemeandvariations,internalarchformsandan
extendedcoda:
Greenbaum:SonataforPiano,4–Handsanalysis,pg.15
Example18:Earthrise,structuralchart
Thechartshowschordsbasedonthetheme(nomelody)followedbyaformalexpositionof
themelodictheme.Thevariationsthatfollowareinanarchform,followedbyasmallerarch
formbasedonacompressedversionofthethemeandultimatelyfollowedbyanextended
codaultimatelyleadingtoharmonicandstructuralresolution.
Thevariationsarereasonablyself-evident,mostlyworkingwithin8–barphrases.Whereas
thefirstmovementexploitsthe4handsasanintegratedwhole,andthesecondmovement
Greenbaum:SonataforPiano,4–Handsanalysis,pg.16
reliesonsuperimpositionofdifferentlayers,thefinalmovementtakesantiphonyasthe
basisofdevelopment.Firstlyatthelevelofphrasing(Piano2playsletterAbyitself,
answeredbyPiano1atletterB),andthenatacloserlevelofhocketandclosecounterpoint
foundfromletterC.
Twonotabledevelopmentalfeaturesareanintervalliccompressionofthetheme(letterQ)
andthethemeinretrogradeatthecoda(letterW).Thecompressedintervalthemeatletter
Qretainsthemaintheme’srhythm,butrestrictedtothefirst4notesofamajorscale:
Example19:Earthrise,melodiccompression
AtletterA,notes2to5spantheintervalofaminor7th.ByletterQthosenotesspanonlya
major3rd,makingthethemelessexpansiveandmoreanthemic.Thisreductivetechnique
canalsofoundattheendofthe1stmovementofSchubert’sStringQuintetinC(1828).It’sa
typeofboilingdowntotheessenceofmusicalmaterial.Afterallissaidanddone,thisis
whatisleft.
AfirstdraftofthescoreresolvedthesustainedchordsattheendofletterT.Andmyfriend
(andformerteacherofmanyyears)BrentonBroadstocksuggestedextendingitonthebasis
ofwantingtohearthethemeagain.Iwasinitiallyconcernedaboutredundantrepetition,
butBrenton’sinsightleadmetotreattheendofletterTasa‘false’endingandreprisethe
themewithcompressedintervals,followedbythethemewithalteredbassnotes,leadingto
anotablenewvariationintheformofacoda.
Thecodapresentsthethemenotonlyinretrograde(pitchonly–samerhythm)andthen
applyingisorhythmicoffset,butin3–barphrasing–anothertypeofcompressionalso
designedtoaidmomentum:
Greenbaum:SonataforPiano,4–Handsanalysis,pg.17
Example20:Earthrise,retrograde,isorhythmandfurthernote–orderpermutation
Afterextensive4–barbinaryphrasing,theimpactofthe3–barcompressionhasstrong
impactuponthenarrativeflowofthemusic.Thesyncopatedpatternretainstherhythmic
formofthefirst5notesofthemaintheme,butthenextendsthe2+3quavergroupingasa
cyclealltoitself:
Example21:Earthrise,codarhythm42+32+32+32+3(=24)
Itimplies5/8butincontextthe5–quaverpatterniscyclingonandoffthecrotchetbeatsof
the4/4metrethatanchorsit.
Therateofvariationisalsoturningfasterthanatanyotherstageintheentiresonataand
thealteredharmoniccontextdeliberatelyavoidsthetonic(D)inthebassuntiltheveryfinal
chord.Coupledwiththefirstpresenceofquaverpulsing,theoverallmodificationsare
designedtoheightenboththetensionofthecodaandalso(byextension)thedepthof
resolutionfortheendofthework.
ThefinalresolutionisclearlyinDmajor,howeverthevoicingofthefinalchordisagainmore
complex,includingnotonlytheprimarymajortriad,butalsothe7th,9thand11th:
Greenbaum:SonataforPiano,4–Handsanalysis,pg.18
Example22:Earthrise,combinedvoicingoffinalchord
Thecombineddownwardrolledchordisnotonlyharmonicallyrichinextensions,italso
resolvesthevarietyofcontourcombinationsinrolledchords(upanddown,simultaneous
andconsecutive)previouslyfeaturedthroughoutnotonlythefinalmovement,butthe
entirework.
Greenbaum:SonataforPiano,4–Handsanalysis,pg.19
Worksbythecomposerforfurtherreference
ForEver(2000)
SonataforViolinandPiano(2000),3rdmovement,TheInfiniteHeartbeat
Worksbyothercomposersforfurtherreference
Bacharach/David–I’llNeverFallinLoveAgain(1968)
MethenyandMays–TheGatheringSky(2002)
PinkFloyd(Waters)–Sheep,fromAnimals(1977)
Reich–PianoPhase(1967)
Schubert–StringQuintetinC,1stmovement(1828)
Taylor–NeverSayDie(1988)
Zawinal–Birdland(1977)
Termsforfurtherreference
ArchForm
Depthoffield
DevelopingVariation
FixedRegisterChord
Hemiola
Isorhythm
Non–octavingmode
Nonatonic
Palindrome
Post-minimalism
Quartalharmony
SonataForm
Article©StuartGreenbaum,2016