Muzică / Music
Rubrica / Box: Articole - Studii / Articles - Studies
2014.09.01. Luni / Monday
Sesiunea de comunicări științifice a Facultății de Arte - Universitatea din Oradea
Autor / Author: Krzysztof Kostrzewa
University of Rzeszówhttp://almanah-euterpe.blogspot.ro/2010/10/index-kostrzewa-krzysztof.html
Redactor / Editor: Anca Spătar
Lect.univ. Dr. Universitatea din Oradea - Facultatea de Arte
http://almanah-euterpe.blogspot.ro/2010/10/index-spatar-anca.html
Redactor / Editor: Mirela Mercean Țârc
Conf.univ. Dr. Universitatea din Oradea - Facultatea de Arte
http://almanah-euterpe.blogspot.ro/2010/10/index-mercean-tarc-mirela_1.html
MASTERPIECE OF SERIALISM – LE MARTEAU SANS MAÎTRE
BY PIERRE BOULEZ. ANALYSIS OF EIGHTH MOVEMENT
Keywords:
mature
serializm, sophisticated counterpoint of serial polyphony, developed serial
technique, derivatives series, polyphony of series of many parameters, technique
of 12-pitch fields, technique of "hidden polyphony", technique of
organization according to ending of sounds, technique of division of series on
segments
Abstract
Le marteau sans maître (1953-55) by
Pierre Boulez is a masterpiece of middle, mature period of serialism. Serialism
was iniciated in 1949 by Olivier Messiaen with his piece Mode de valeurs et d’intensités. In the works of its three greatest
representatives: Pierre Boulez, Karlheinz Stockhausen, Luigi Nono, serialism
existed to about 1960. These twelve years can be divided into three phases:
·
1949-1952: early serialism (pointillism); it is
sometimes called total or integral serialism,
·
1953-1957: middle, mature serialism,
·
1957-1960: late serialism, influenced by Cage’s
aleatorism.
In the phase of mature serialism the disadvantages of the early phase (being
the result of the pointillistic texture dominating at that time): atomisation
of musical narration, static effect, fluctual form and in some cases lack of
expression, were finally overcome. Boulez in Le marteau… did it by using developed serial technique. In that
piece it is only the pitch series that has constantly 12 elements while the
series of dynamics and rhythmics have usually 1, 2, 3, 4 or 6 elements.
Therefore Boulez applied the division of the number 12 as categories of serial
composition. In this way he created a kind of serial "instrument",
which breaks the schematicism of the permanent repetition of 12 elements in all
serial organized parameters.
In this paper there are presented five types of Boulez’ sophisticated
serial technique: (1) polyphony of series of many parameters, (2) the technique
of 12-pitch fields, (3) the technique of "hidden polyphony", (4) the
technique of organization according to ending of sounds, (5) the technique of
division of series on segments.
The paper includes examples from the score with the series pointed out
and a diagram of form of the eighth movement of Le marteau.
In the end of the paper there is recalled the statement of a Polish musicologist,
Tadeusz Andrzej Zieliński. In 1960 – a few years after the creation of Le marteau sans maître – he
expressed his admiration for this piece, which he called „the source of the
separate and irreplaceable emotion which Bach, Chopin, Schönberg cannot give”.
And he added: „Le marteau by Boulez is remarkably subtle and ethereal
music, almost "immaterial". It seems to be more delicate than
anything. This work does not shock and it does not electrify; it influences the
aural nerve in the way, as the feeling of soft silk influences the touch.”
*
1. Introduction
Serialism was iniciated by the
piece by Olivier Messiaen Mode de valeurs
et d’intensités, one of Four rythmic
studies (1949). It was followed by Sonate
for two pianos op. 1 (1950)
by Karel Goeyvaerts, the Belgique disciple of Messiaen. Both these pieces,
presented in the summer 1951 in Darmstadt, caused a quick reaction: just in the
autumn 1951 Polyphonie X by Boulez
and Kontra-Punkte by Stockhausen were
composed. To this first phase of serialism we can add also: Structures I for two pianos (1952) by Boulez and two pieces by Stockhausen: Kreuzspiel (1952) and Klavierstücke I-IV
(1952/53).
Serialism lasted for about 12
years, from 1949 to about 1960. It can be divided into three periods:
- Early serialism (1949-52), when there was serialisation of many parameters, technique of pointillism and identity of structure and form;
- Mature serialism (1953-56), when the form became independent from the structure; Boulez created a sophisticated counterpoint of serial polyphony and Stockhausen introduced the group technique and included statistic laws; he used average values;
- Late serialism (1957-1960); in Stockhausen’s and Boulez’ creation the aleatory factor became important (introduced under Cage’s influence); Nono developed polyparameter serial technique in vocal compositions.
The serial technique consists in using the
series of many parameters, such as: pitch, duration, dynamics, timbre,
articulation and others. The direct result of the serial technique at the
beginning of its existance was pointillistic texture. This phase of the
serialism is sometimes called "integral" or "total"
serialism.
Although the pointillistic texture existed
already before, in the works of Anton Webern, it was especially its appearance
in the early works of serialists (Boulez, Stockhausen, Nono) with the
accompaniment of the vanguard theories that caused a shock of the audience and
the strong negative opinions from the composers and musicologists not
acquainted with the vanguard.
The early serial technique, called also by
Bogusław Schaeffer "poliserial" or "polistructural"[1] had indeed at the beginning of the serialism (between 1949 and 1952) many disadventages:
atomisation of musical narration, static efect, fluctual form and in some cases
lack of expression[2]. Also Theodor Wiesengrund Adorno perceived the
automatisation of composing process. He said the composer was becoming a serial
engineer and the work - a disertation[3]. However, B. Schaeffer is right to assert that
it is true just for the early phase of the serialism, not for the mature one,
so the period 1953-1960[4].
Actually, although it is true the puncualism
caused static efect, its influence was dissociative and there was a kind of
mechanicalism, these were not the essential things for the serialism. It was
far more important that punctualism enabled the revolution in the composers'
thinking - instead of thinking just about a line (motive, rhythm, melody) and
vertical (harmony) and join the timbre, so the instrumentation to these basic
elements the composers began to think about a single pitch, as a cross of a
diffrent kinds of the sound parameters. In this way punctualism in the early
serialism was definitely the opposition towards tradition, also by the
elimination of the rest of tonal system, which was still present in the serial
(dodecaphonic) work by Schönberg, Berg and Webern, also like motivic thinking.
To be honest, in the case of the typical
technique of the early serialism - pointilism - negative critic was right. It
is true that it was dissosciative, static, formally amorfical, sometimes it
lacked expression. However, these features caused a reaction from the same
composers who created their works using pointillistic technique. These
drawbacks were overcome in many works composed with group technique, for
example in Gruppen by Karlheinz Stockhausen and also in the work which
is undoubtedly a masterpiece of serial music - Le marteau sans maître (1953-55).
2. The serial plan. Sketches
In
the example of eighth movement of Le marteau sans maître (the piece was composed in 1953-1955) there will
be introduced Boulez'
advanced technical achievements, which are far from the basic serial technique
applied in Polyphony X (1950) or Structures
I (1952).
In the piece Le marteau sans maître Boulez uses the text of the French surrealist poet René Char, with the
same title.
From
1986 the analysis of Boulez' serial works is easier because of the access to
the composer's sketches at Paul Sacher Foundation in Basel. Sketches to Le marteau
sans maître were published by Ulrich Mosch in his analysis of
the second movement of this work[5].
Boulez
prepares a plan of the whole work in two schedules.
The
first one (look at the example 1)
Ex. 1
contains
12 twelve-tone series: the initial series and 11 derivatives series, which are
marked with Roman numerals since II to XII. Each series contains 12 positions,
which are marked with Arabic numerals since 1 to 12. Only the initial series
has engaged all 12 positions. The other series (so derivatives series) possess
both empty places and places with individual sounds or chords. The method of
creating derivatives series from the initial series has been illustrated at the
example 2.
Ex. 2
At
the beginning there is appointed quantity of half-tones (semitones) in intervals
of initial series, together with their direction. First interval, major second
up, from E-flat to F, is appointed as + 2 (two half-tones up); next interval,
minor third down, from F to D, is appointed as -3 (three half-tones down) etc.
In this way we receive the series of numbers, which are closely connected with
initial series:
+ 2 -3 -1 -3 + 1 -2 + 3 -4 -4 + 3 -1 -3
In
the example 2 there is presented “wander” of the first sound of initial series,
E-flat.
Every
sound of initial series goes in turn through all verses since II to XII,
according to mentioned numerical series, in accordance with rule: if it is + 2,
then in next verse sound moves two positions to the right, if it is -3 then three
positions to the left etc.
Finally
Boulez receives table from which we can read twelve-tone series in each verse
(reading horizontally) and in each column (reading vertically). In II, IV and
VIII movement of Le marteau Boulez uses series read only horizontally.
The empty places are provided for percussion instruments with undefined pitch.
Boulez
comments that moment of constructing work as follows:
"In Bourreaux de solitude (movements II, IV, VI, VIII) percussion
measures time. (...) When different instruments play, percussion keeps
silent; however if only pause appears in instrumental complex, percussion fills
it - in dependence from its length - by one or several beats. Percussion
creates « supplement » of different instruments; it fills the vacuum, formed
among definite heights of sounds - it is a kind of architectural game with
time"[6].
Chords
in derivatives series (from II to XII) are realized in score either as chords,
or successively - then the order of sounds is free. This is an example of local
liberty of choice within a framework of close global serial plan, according to
the composer's statement. Each derivatives series can begin from any place
(also empty one - realized by percussion) and
it can be transposed as well.
Among
the sketches there is one more schedule, treating to Le marteau sans maître
which contains 11 series set in five groups (look at the Ex. 3: Sketch
containing modules).
[U/UK] V et IX modulo de 4 1 2 3 4 êê combin[aison] tierce
modulo de 3 4 5 6 êê combin. seconde majeure
modulo de 6 1 2 3 4 5 6 êê combin. quarte et seconde mineure
modulo de 1 3
/ 5
modulo
de 2 1 2 / 5 6
[U/UK] VII et XII modulo de 3 1 2 3 êê comb. VII et XII 2 à 2
modulo de 4 5 6 7 8 êê --- ê XII ê --- ê VII ê ---
modulo de 2 5 6 / 3 4 êê VII ê ou VII ê XII ê ou XII ê VII
modulo de 6 1 2 3 4 5 6 [ --- means illegible]
modulo de 1 2 / 7
[U/UK] III modulo
de 1 1 êê
modulo
de 6 1 2 3 4 5 6 êê 2
à 2 réciproques (² ® 3 3 ® ²)
modulo de 3 4 5 6 êê
modulo de 2 7 8
modulo de 4 1 2 3 4
5 6 7 8
[U/UK] XI, VIII, X modulo de 2 1 2 êê
modulo de 1 3 / 4 / 7 êê combinaison 3 à 3
modulo de 4 1234/1234/5678 êê
modulo de 3 123/123/456
modulo de 6 1 2 3 4 5 6
[U/UK] IV, VI, II modulo de 6 1 2 3 4 5 6 êê
modulo de 2 5 6 / 1 2 / 3 4 êê combinaisons
modulo de 1 8 / 5 / 2 êê horisontales
modulo de 4 5678/5678/1234
modulo de 3 456/123/123
Schedule
contains 5 groups with 5 "modulo" in each one. Boulez' term
"modulo" means module. They are series of dynamics and rhythmics,
which have usually - differently from series of pitch - less than 12 elements.
The series of dynamics and rhythmics have either 1 or 2 or 3 or 4 or 6
elements. The quantity of elements of dynamics and rhythmics series takes into
account all mathematical possibilities of division of number 12 (the number 12
is divisible by 1, 2, 3, 4, 6), so all modules can be subordinated to every
pitch series (these series are always 12 elements). The rhythmics module 6 is
precisely fixed (duration from 1 to 6 sixteenths). The other modules have
several possibilities of realization, e.g. module 4 can have either from 1 to 4
sixteenths or from 5 to 8 sixteenths. Boulez applies also rhythmical series
consisting of 12 elements (rhythmical values from 1 to 12 sixteenths).
The
series of dynamics are constructed similarly like rhythmical series. Except series of 12 elements (ff" ff f" f
mf" mf mp" mp p" p pp" pp) Boulez more often uses
shorter series: of 6-, 4-, 3- and 2 - elements, which are a part of full series
of 12 elements. The module 6 can for example look as follows: ff' ff f' f mf'
mf (vibraphone, measure from 1 to 4, 4-8, 84-90). The module 4 can look as
follows: mf' mf mp' mp (vibraphone, measure 14-20, 109-112). Boulez sets
dynamics signs differing with nuances, not contrasting; nowhere appears for
example module: ff mf p pp. The nuance dynamics predominates distinctly over
contrasting one (characteristic for early phase of serial music).
There
is also a module 1, which means, that all 12 pitches possesses the same dynamics
or duration (or both of them), for example in vibraphone, measure from 1 to 4:
ff.
In Le
marteau sans maître only the pitch series has constantly 12 elements. The
series of dynamics and rhythmics have usually 1, 2, 3, 4 or 6 elements, and
very rarely 12 elements. Therefore Boulez applies the division of the number 12
(and so the whole set of modules) as categories of serial composition. He
creates in this way some kind of serial "instrument". He breaks the
schematism of permanent repetition of 12 elements in all serial organized
parameters.
3. Analysis
In
the 8. movement of Le marteau, which has 138 measures, we can
distinguish 3 principal sections, in which there are applied different serial
methods:
·
section one (I), measures from 1 to 20, where appears (1) polyphony of
series of many parameters;
·
section two (II), measures from 21 to 71, where decoding of series
procures many difficulties; this section is probably the field of
decomposition; this section is not analyzed here.
·
section three (III), measures from 71 to 138, where the decoding of
series is easier again, but the serial technique, more elastic than in section
one, appears in four new forms:
o (2) the technique of
12-pitch fields, in which there is the module 12 in range of rhythm, as well as
module 3, 4 or 6 in range of dynamics;
o (3) the technique of
"hidden polyphony";
o (4) the technique of
organization according to ending of sounds;
o (5) the technique of
division of series on segments.
In
present analysis there is represented 5 types of sophisticated serial
technique, applied in sections I and III.
3.1 Polyphony of series of many parameters
At
the beginning of part VIII of Le marteau it is difficult to find
12-pitches series, because in vibraphone and xilorimba the pitches repeat
already in the first measure. First 12-pitches course is in flute in measure
3-10 (look at the example 4;
Ex. 4
flute
transposes quart down, because there is an alto flute). This form of series we
can mark as U III 4, 1, which means, that it is the
series III from table of eleven series according to series in inversion
("U" from Germ. Umkehrung = inversion), transposed major third up (4
half-tones), begun from first position (from hitting of percussion) - look at
example 1. If we observe this series in flute, we can see, that there are
sixteenth pauses among some sounds of flute and exactly in these pauses the
hitting of claves appear. Moreover the hitting of claves has the same range of
dynamics as the flute: mp ' / mp. Therefore these hitting of claves belong to
12-pitches flute series, according to Boulez' statement about supplement of
instrumental sounds by the hitting of percussion. Percussion action makes
easier the decision, which of 11 form of series we are talking about: in that
series the claves has four single hitting (for easier identification, at
the example 1, next to every 11 series from II to XII there has been noted a
model of percussion hitting, that belongs to it. It has been fixed on the basis
of empty places; there is also important to distinguish single and group
hitting). This percussive model exists in fact in three series: III, VI and X,
but empty places and single sounds including six positions, like in this flute
part, are only in the III. series. In this moment we can easily establish, that
it is series III, transposed 4 half-tones up, begun from the first (empty)
position. Therefore the connection between rhythmics and pitch in this flute
series, measures 3-10, looks as follows:
1 2 3 4 5 6 7 7 8 9 10 11 11 12 12 12 position
e F e D e C# B D# C e A A# F# G# E G
7 8 7 4 + 3 8 7 4 + 4 1 + 7 real
rhythmical value
7 8 8 sum of rythmical values
in
chords
We can notice here in the
dynamics and rhytmics module 2 (2-element series), after setting sounds of
series and their dynamic signs with chromatic scale from C to B:
C C# D D# E F F# G G# A A# B
> > > > > > >
mp mp mp mp mp mp mp mp mp mp mp mp module
2 (mp mp)
8 7 8 3 1 7 4 7 7 4 4 real rhythmical value
7 8 8 8 8 7
sum of rhytmical values
in
chords
8 7 8 7 8 7 8 7 8 7 8 7 module
2 (7 , 8)
Evident
dynamic module 2 (mp mp) is a clue, that also rhythmical module should consist
of two elements, according to Ulrich Mosch' assumption, which has been
confirmed in his analysis of the second movement of Le marteau[8].
Serial plan contained in schedule of module (example 3) provides, that for
series [U/UK] III rhythmical values for module 2 should be 7 and 8. Many sounds
have really exactly this duration (e.g. C - 8 sixteenths, C-sharp - 7
sixteenths) whereas as many as six sounds have different duration:
D-sharp lasts 3
sixteenth; B, A-sharp and F-sharp - each of them lasts four sixteenths,
moreover G-sharp is a grace-note (acciaccatura), so it lasts even shorter than
1 sixteenth.
Problem is solved, if we add together duration
in the chords: in this way B and D-sharp have 7 sixteenths (3 + 4), A-sharp and
F-sharp - 8 sixteenths (4 + 4), E - also 8 sixteenths (1 + 7). G-sharp lasts
actually shorter than 1 sixteenth, so it could receive value zero. However
G-sharp should have value 8, according to value of module; G-sharp can receive
this value, if we add together rhythmical values of the whole chord G + E +
G-sharp (7 + 1 + 0 = 8). Anyway sound E has in reality considerably shorter
rhythmical value - 1 sixteenth, though module 2 in
the sketch gives it 8 sixteenths.
Presented way of procedure of composer, which
is applied with the purpose of receiving values provided in the serial plan
might be called at one side as pure speculation. However from the other side we
can perceive in it practical realization of that local liberty of choice,
demonstration of "local non discipline" while global, principal
tendency remains.
Construction of whole first section (measures 1-20) is based on the polyphonic beams of series; each
series is realized as described above series in the measures 3-10, performed by
flute and claves. With the help of both of schedules (series and module ones),
taking into account rhythmical models of particular series, we can identify all
series: this section is constructed very closely. In the example 5 there is
presented, with the help of different lines, course of series in section I,
without precise analysis already. In this section there are all derivated
series (from II to XII), creating some kind of exposition of this part (look at
the formal plan of whole part VIII, ex. 11).
Ex. 5
3.2
Technique of 12-sound fields
In
section III (measures 71-138) looks of score changes in comparison with section
I. At first, series are not arranged horyzontally but vertically, so
"harmonically" and they are usually played by all instruments
performing this movement (flute, xilorimba, vibraphone). In the score there are
therefore 12-sound fields. This fields are quite easily recognizable, because
of separate rhythmical and dynamic modules, which are in every field. At
second, rhythmical module is not directly correlated with dynamic one, like in
I section, but it becomes independent: there is only one rhythmical module
everywhere - module 12 (that means the sounds of series receive duration from 1
to 12 sixteenths). Dynamic module, not correlated with rhythmical, has 3, 4 or
6 elements in the III section (module 3, 4 or 6), because the sketch sais so:
in the eight movement of Le marteau there are used modules of two last
verses from each of five groups only, while in section III (measures 71-138)
there are only series VIII, X, XI and II, IV, VI .
Owing
to analysis we can notice some deviations in applying rhythmical and dynamic
modules. In the example 10 there is in measures 74-76 series UK VIII 5¯, 12 (series VIII
retrograded, translated 5 half-tones down, begun from 12th position), in which
rhythmical module 12 is realized closely, whereas dynamic module shows two
deviations (they are underlined):
C C# D D# E F F# G G# A A# B
> > > > >
pp pp pp p pp pp p pp pp p pp pp sign of dynamics
p pp module 3 (p pp' pp)
3 4 5 6 7 8 9
10 11 12 1 2 rhythmical module 12
Such case of strict realization of rhythmical module 12 is rather rare in
whole section III: deviations predominate, though principal tendency (module
12) is obvious. In the fragment of score presented in the example 10 there are
also another series, in which module show some deviations from ideal exactness:
·
measures 71-74, UK XI 3 ¯, 12. There is
rhythmical module 12, but F-sharp lasts one sixteen instead of two; dynamic
module 3 (p pp' pp), but sound F has dynamics p' instead of pp'.
·
measures 77-79, UK VIII 5, 9. There is rhythmical module 12,
but D lasts 8 sixteenths instead of 7; dynamic module 3 (p pp' pp), but C has
dynamics pp instead of p. Showed deviations from exactness can be also treat as
demonstration of liberty in forming details in the framework of appointed
direction.
3.3 Technique of hidden polyphony
In section III we can observe very
often some factural transformation which might be called "hidden
polyphony". It is situation, when the duration of sound is marked at the
beginning and at the end only, in the same register (often by means of grace-notes),
therefore the sound does not appear constantly lasting (tenuto); the sign of
dynamics of beginning and end of that sound are identical. It is the example of
developed serial technique.
The technique of "hidden
polyphony" is visible exactly in vibraphone, measures 86-87 - look at the
example 6. In this technique both the beginning and the end of a sound can be
written/recorded as regular rhythmical values or as grace-notes. During
"virtual" duration of sound there can also appear the additional grace-notes
on the same pitch, as it takes place in mentioned example 6.
Ex. 6
Series
in vibraphone, measure 86-87; U VIII 3¯, 6:
6 7 8 9 10 10 10 10 11 12 1 3 2 3 3 4 5 5 position
A# A G# C G E F F# D# C# B D
11 10 9 1 7 6 5 7 3 2 12 2 real
rhythmical value
After setting sounds of
series and their dynamic signs with chromatic scale from C to B we can notice
here module 6 in the dynamics (6-element series) and module 12 in the rhytmics
(12-element series):
C C# D D# E F F# G G# A A# B
> > > > > >
f mf mf ff ff f f mf mf ff ff f module 6 (ff' ff f' f mf' mf)
1 2 2 3 6 5 7 7 9 10 11 12 real rhythmical value
1 2 3 4 5 6 7 8 9 10 11 12 rhythmical module 12
In this series we see close
module 6 in the range of dynamics (ff' ff f' f mf' mf). However, rhythmical
module shows some inaccuracies: sounds E and F have inverted
rhythmical values. This inaccuracy can be interpreted also in another way: the
sounds D, E-flat, F, G have as though transposed scale of rhythmical values a
unit down (2 instead of 3, 3 instead of 4 etc.). Another inaccuracy is the case
of sound G, which end is an octave higher than the beginning. Inaccuracy of
this type appears almost in every series, not only in this technique. Most
likely it is not oversight or "mistake", but the next examples of
conscious "local non discipline".
3.4 Technique of organization according to ends of sounds.
In analysis of section I (measures 1-20)
beginnings of sounds fix their order. In section III (measures 71-138) there
exist some series, in which sounds begin a chord successively but they finish
simultaneously - look at the example 7:
Ex. 7
vibraphone, measures 95-97. This common end of
several sounds could mean that just the end has some meaning. This assumption
is confirmed in analysis, but there should be studied not only end of chord,
but also end of singular sounds. The technique of organization according to
ends of sounds is showed in example 8:
Ex. 8
the order of sounds can be truly coordinated
with the sketch (ex. 1), when we take into account moments of ends of sounds.
We are talking here (measures 93-96, compare
with ex. 7) about series U XI 4 , 10 (series XI, transposed major third up, begun from 10th position).
The sounds of chords C + B-flat and F + E-flat + D-flat end simultaneously.
Because this time the schedule of series fix the order of ends of sounds (and
not beginnings), the suitable hitting of percussion appear directly after
sounding out the sounds and not before their attack, like in the section I,
measures 1-20. Example 7 includes also another fragments of the piece composed
with the help of this technique, marked "TE" (germ. Tonende = the end
of sound): measures 96-97 and measures 99-102.
3.5 Technique of division of series on segments
In some fragments of section III, within
12-pitches fields, series can be decoded, only
when we read out different instrumental voices separately. Each instrument has
some appropriate segment of series, it creates something like polyphonic beams
of its segments. In the fragment of score presented in example 9, measures
107-109.
Ex. 9
there is series UK IV 4¯, 1 (series IV, the retrograde
transposed major third down, begun from the first position). Series is begun,
by hitting of bongos, a little delayed here (ff in measure 107); it is then
position 1. Vibraphone realizes in measures 107-108 positions 12 and 11 (B-flat
+ A and B) then follows directly position 10: hitting of bongos (measure 108,
mp). A little later than in vibraphone, in measures 107-109 the next segment of
series appears in flute: positions 9-8-7 (E-flat + C, D, E + F-sharp +
C-sharp). Positions 6-5-4 are realized by bongos (measure 107) as group of
three sixteenths; in accordance with the sketch they precede directly an action
of xilorimba. Sounds of position 3-2 (A-flat + G, F) are in xilorimba, they
create something like the third polyphonic voice. The sound D-sharp in
xilorimba in measure 108 and the hitting in bongos belong to the preceded
series.
The sounds of chord-complexes are played in
this place successively. The series is divided in this way, that - when we read
it vertically - we have completely different order of sounds than the sketch
provides for series IV. Great letters at the signing of the series in score
example define the order of realizing the segments of series, e.g. in this
series: V (= vibraphone), F (= flute), X (= xilorimba).
Ex. 10
In the example 11 there is presented the form
of the eight movement – it can be seen as a kind of sonata form. Section I
(measures 1-20) functions as an exposition because all the series, from II to
XII, are presented here (see example 1). Section II (measures 21-71) functions
as development section – the identification of series is very difficult so
probably they are transformed in a way. Section III (measures 72-138) is a kind
of recapitulation because almost all series from the exposition come back
(there is no series III, V, VII, IX).
Ex. 11
*
The present analysis of part VIII of Le
marteau sans maître shows, as far Boulez walked away from pointillist
technique applied in Structures I for two pianos (1952). In Structures I he has applied 12-element series in range of
pitch of sound, rhythmics, dynamics and the articulation, unifying sometimes
some parameter, and so resigning from its serializing (e.g. he has applied
constant dynamics for whole series, constant value rhythmical etc.). The result
of such technique was music which influences on listener dissociatively, quite
"explosive" in expression. In Le marteau Boulez has overcome
constant, exactly serial number 12, he has
introduced 2-, 3-, 4- and 6-element series (modules). In this way he has
prepared serial instrument, and with its help he has composed new forms of
serial complexity. The analysis shows, that we have here virtuously treated
structural complexity, reached by break of serial "twelve" and by
serial of varriattive technique.
Serial technique, described here fragmentarily,
but with the smallest details, caused rise of work, which we can call without
exaggeration, the masterpiece of serial music. Le marteau, in
several years after its rise, awaked real enchantment of polish musicologist,
Tadeusz Andrzej Zieliński:
"I remember, that my first emotion with
new music occurred in moment of completely not intellectual perception. I was
listening to the Boulez' work Le marteau sans maître and I discovered
suddenly, that this sound-set gives me some special pleasure, that I didn't
know earlier. Important was, that these sounds in sum are the source of
separate and irreplaceable emotion which Bach, Chopin, Schönberg cannot give.
The work appeared as an independent value, which does not require any external
argumentation. (…)
Le marteau by Boulez is remarkably subtle and ethereal
music, almost "immaterial". It seems to be more delicate than anything.
This work does not shock and it does not electrify; it influences the aural nerve in the way, as
the feeling of soft silk influences the touch.”[9]
[1] Bogusław Schaeffer, Nowa muzyka.
Problemy współczesnej techniki kompozytorskiej. Kraków 1969, p. 397, 406.
[2] B. Schaeffer, op. cit., p. 397, 484.
[3] T. W. Adorno, Das Altern der neuen Musik, in: „Der Monat” No. 7 (May 1955) p. 150-158.
[4] B. Schaeffer, op. cit., p. 27.
[5] Ulrich Mosch, Disziplin und Indisziplin. Zum seriellen Komponieren im 2. Satz des Marteau
sans maître von Pierre Boulez.
Musiktheorie. Peter Cahn and others eds. Laaber Verlag 1990 No. 1, p. 43-46,
58.
[6] P. Boulez, Sprechen,
Singen, Spielen. In: P. Boulez, Werkstatt-Texte,
Translation from French: Josef
Häusler, Berlin 1972, p. 137; Translation
into English: K. K.
[7] The sketch have been published by Ulrich Mosch, op. cit., p. 58.
[8] Ulrich Mosch discovered that both rhythmical
and dynamic values are organised on the basis of the same module; U. Mosch, op.
cit., p. 50.
[9] Tadeusz A. Zieliński, Piękno
nadal aktualne „Ruch Muzyczny” 1960 No. 15 p. 4. The title of the article means „The Beauty
still live”.
