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A. 0 NCL SIS non ait' LY RN. ’Dis’s' :NNISH JANA TH "qu1.? 534.19. tafiwwww WRNW Lt 9:... .Pw: 51.53.... . «.— x 1. x NHNNNN lfl HNNINI L 3 129300 893318 This is to certify that the thesis entitled f“ _ v A SURVEY OF ~’ TWENTIETH— —CENTURY FINNISH CLARINET MUSIC AND AN ANALYSIS OF SELECTED WORKS presented by Marcia Hilden Anderson has been accepted towards fulfillment of the requirements for Ph.D. degree in Music Date gill/75. 0-7639 ' “ ' TEEIINNRH JAN ,2 2 2002 for lies: and in 1 ins dur of Sib Pro the lilo: ABSTRACT A SURVEY OF TWENTIETH-CENTURY FINNISH CLARINET MUSIC AND AN ANALYSIS OF SELECTED WORKS BY Marcia Hilden Anderson The objective of this study has been twofold: (l) to survey available twentieth-century Finnish clarinet music for the purpose of discovering new or neglected works which deserve to be added to the modern clarinetist's repertoire, and (2) to analyze a small number of representative works in order to understand their internal features and to gain insight for their interpretation. The author gathered information for this paper during a year of study in Helsinki. In the beginning stages of the project, she obtained scores and recordings from the Sibelius Academy, Edition Fazer (Finnish music publishing firm), and the Music Information Center. Radio Helsinki provided additional scores and tape recordings for use at the Center. Composer-teachers at the Helsinki educational institutions, as well as professional clarinetists, supplied more scores and information through interviews. Several ‘1 "UT: 0! U11 Marcia Hilden Anderson interviews were also arranged with composers and clarinetists from other cities. Over sixty published and unpublished clarinet compositions were found to be available. More of these were for woodwind quintet than for any other instrumental grouping. Most of the others were for clarinet and piano or included the clarinet in non-standard instrumental group- ings. In cases where recordings were unavailable, the compositions were tested through rehearsal or actual performance with other musicians. The twenty—tWO compositions mentioned in this paper were selected according to such factors as the author's personal liking for the music, readability of the manu- scripts, and the availability of other chamber musicians. The paper includes information on how these compositions may be acquired for performance purposes. This study examines the role of the clarinet within the context of twentieth-century Finnish music. The clari— net, which Finns had traditionally regarded as a military or folk instrument, found its way into Finnish classical music in the 1920's when composers began incorporating folk ele— ments in their works. Since then the clarinet has gradually been accepted as a medium for a diversity of styles, from impressionistic and jazz-influenced works to those based on the twelve—tone technique. As Finnish composers have become more quali resou and o ' P ' A Score data eXDlR being Nnaly and \ Marcia Hilden Anderson more familiar with this instrument, partly because of quality performers, they have begun to exploit its idiomatic resources by employing glissandos, quarter tones, chords, and other special effects. Most of this paper is devoted to a detailed analysis of three works considered by the author to be representative of twentieth—century Finnish clarinet music: 0 Erik Bergman's Three Fantasias for clarinet and piano 1954 0 Pentti Raitio's Elegia sooloklarinetille (1966) 0 Aarre Merikanto's Konzert ffir Violine, Klarinette, Horn und Streichsextett (1925), second movement. Scores of the above are given in the Appendix. Biographical data preceding each analysis introduces the composer and explains the circumstances under which the music came into being. The general character of each work is discussed. Analysis covers such elements as form, rhythm, horizontal and vertical tone structures, and orchestration. A SURVEY OF TWENTIETH-CENTURY FINNISH CLARINET MUSIC AND AN ANALYSIS OF SELECTED WORKS BY Marcia Hilden Anderson A DISSERTATION SUPPLEMENTARY TO THREE CLARINET RECITALS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY IN APPLIED MUSIC, LITERATURE, AND THEORY Department of Music 1975 To Web, Che/Lyz, Eden/t, and Nolan, and e/speulauy to Glen ii grant in th folio Pentt §l§9§ Stafj Patie to my Radii Firm of E Publ ACKNOWLEDGMENTS The author gratefully acknowledges permission anted by Edition Fazer and B. Schott's Sohne to reproduce this dissertation scores and musical excerpts from the llowing: 1. Erik Bergman's Three Fantasias for clarinet and piano (1954), copyright 1965 by 0y R. E. Westerlund Ab, Helsinki (since 1967, Edition Fazer, Helsinki). 2. AarneMerikanto'sKonzert fur Violine, Klarinette, Horn und Streichsextett (I925), copyright 1925 by B. Schott's Séhne, Mainz. 1tti Raitio has also kindly allowed reproduction of his 313 sooloklarinetille manuscript. I would like to thank Mr. Jarmo Sermila and his Lff at the Music Information Center in Helsinki for iently answering my many questions and for contributing my enjoyment in this research. I am also indebted to i0 Helsinki for lending me several tape recordings of nish clarinet music, and to Mr. Einari Marvia, editor Edition Fazer, for lending me several soon—to-be- lished scores. The faculty members of the Sibelius Academy deserve 0rd of appreciation for their contributions to my aarch, particularly Mr. Reino Simola, Ms. Riitta Parikka, Ms. Sole Kallioniemi. Ms. Maija Kaldjian's help in translating from aral Finnish music texts was invaluable in the last yes of this project. The careful copying from the Elegia sooloklarinetille Iscript was done by Mr. Wes Anderson. I would like to thank my dissertation advisor, Russell Friedewald, for many helpful suggestions and his friendly encouragement in this endeavor. A final I of thanks goes to the other members of my dissertation dttee for their participation in the completion of this ect: Dr. Gomer Ll. Jones, Dr. Edgar Kirk, Mr. Keith n, and Dr. Elsa Ludewig-Verdehr. iv RODUCTION PTER I. II. I. TABLE OF CONTENTS 9 o o a o o o o o o o o The Composer . . . . . . . First Movement . . . . . . General Character . . . Form Melodic- -Rhythmic Cells The Twelve- -Tone Row . . Texture . . . . . . Rhythm . . . . Tonality and Dissonance Second Movement . . . . . . General Character . . Form . . . . . . . . . The Twelve-Tone Row . . Tonality and Dissonance Rhythm . . . . . . . . Dynamics . . . Third Movement . . . . . . General Character . . . Form . Distribution of the Row Texture . . . . . . . Tonality and Dissonance Rhythm . . . . . . . . Ranges and Dynamics . . The Composer . . . . . . Elegia sooloklarinetille . General Observations . Melody . . . . . . . . TWENTIETH-CENTURY FINNISH CLARINET MUSIC PENTTI RAITIO'S ELEGIA SOOLOKLARINETILLE ERIK BERGMAN' S THREE FANTASIAS FOR CLARINET AND PIANO . . . . . . Page ’TER Form . . . . . . . . . . . . . . . Tonality . . . . . . . . . . . . . Rhythm . . . . . . . . . . . . . . Summary . . . . . . . . . . . . . . IV. AARRE MERIKANTO'S KONZERT FUR VIOLINE, KLARINETTE, HORN UND STREICHSEXTETT, SECOND MOVEMENT . . . . . . . . . . . . . The Composer . . . . . . . . . . . Konzert fur Violine, Klarinette, Horn und Streichsextett, Second Movement . . . General Character . . . . . . . . . Form . . . . . . . . . . . . . . . Melody . . . . . . . . . . . . . . Rhythm . . . . . . . . . Tonality and Vertical Structures . Texture and Contrapuntal Techniques Orchestration . . . . . . . . . . . V. CONCLUSION . . . . . . . . . . . . . . . ENDIX . .IOGRAPHY . o a o o u o o o o - vi l68l&( INTRODUCTION As a clarinetist and teacher I am interested in overing new or neglected works which deserve to be added he modern clarinetist's repertoire. A Fulbright—Hays uate grant to Helsinki during the academic year 1972—73 ided me an ideal opportunity to study the clarinet c of Finnish composers. The main objective of this act has been to find a sizeable number of promising s to add to my repertoire for performance and teaching ases, and to select from these a small number of asentative works to analyze. The first stages of the project involved locating as and recordings of accompanied or unaccompanied Lnet solos and chamber music involving this instrument. compositions were obtained from the Sibelius Academy :he Finnish publishing firm, Edition Fazer. The most .fic source, however, was the Music Information Center, 1 had a limited number of scores and recordings, but 1 made arrangements with Radio Helsinki to borrow .able scores and tape recordings for my use at the :r. Books, articles, and surveys, which were found in city libraries and the University of Helsinki Library, ided information on the general musical scene. Although innish was insufficient to read these thoroughly, I was to get some idea of the interests and opinions of some ish historians and theorists. Several of the Finnish cles include a summary in English. By attending various concerts I became acquainted some Finnish composers' works, as well as performance dards. Participation in performance groups at the lius Academy also increased my awareness of Finnish cal life. Contact with composer-teachers at the Helsinki itutions, as well as professional clarinetists, supplied tional scores and information. Several interviews in inki were also arranged with composers and clarinetists other cities. Over sixty clarinet compositions were found to be Lable. The largest number of these were for woodwind :et. Most of the others were for clarinet and piano or ided the clarinet in non-standard instrumental groupings. time was spent in practicing many of these works with : musicians and in testing some of them through actual )rmance. A limited budget forced me to select only :y—two of these works for my own teaching and rformance repertoire. The choice was determined by such ctors as personal liking for the music, readability of uscript, and availability of other chamber musicians. compositions selected are the unaccompanied pieces and chamber works which will be mentioned later in this sertation. Works for clarinet, violin, guitar, and cussion were excluded because accomplished classical Ltar players are generally unavailable in the United ates. Publication of clarinet music has not been lucrative Finland, so there has been a tendency to publish clarinet rks only by established composers; it is assumed that 5e compositions might be sought after and/or more readily epted than those by lesser—known composers. For this son few clarinet works have been published, and many ellent pieces will go unnoticed. In this paper, mention 1 be made of all published Works; these are obtainable writing to: Edition Fazer 00101 Helsinki 10 Postbox 260 Finland. iries regarding the availability of score and parts of published compositions may be addressed to: Music Information Center Runeberginkatu 15 A 00100 Helsinki Finland. Toward the end of this research, I chose the llowing three compositions as representative of twentieth— ntury Finnish clarinet music: Erik Bergman's Three Fantasias for clarinet and piano (1954) Pentti Raitio's Elegia sooloklarinetille (1966) Aarre Merikanto's Konzert ffir Violine, Klarinette, Horn und StreichsextetthlQZS), second movement. l of these show freedom from the influence of Sibelius, 1d each is representative of a different style. Interviews .th Bergman and Raitio have given me an appreciation of the mical personalities behind two of these works. Analysis Fthe music has helped me to understand some of the inter— 1 features of these creations, thus providing valuable sight for their interpretation. Twentieth—Century Finnish Music Finland's position of relative isolation has made it fficult for us to appreciate what she has to offer musi— lly. Americans know Finnish music primarily in terms of symphony; not only has this been a popular medium for nish composers since Sibelius, but also several Finnish ductors, violinists, and vocalists have appeared as tinguished guests with our major symphony orchestras. h two internationally—acclaimed orchestras and a national ra company (all located in Helsinki), the symphonic dition is well established in Finland. Until recently nnish composers have been noted almost exclusively for eir writing for the symphony orchestra, strings, piano, d voice. American musicians know little of specific amber works for other instruments. During the first half of this century Finnish position was strongly influenced by the national manticism of Sibelius. The country's leading performing oups, as well as touring groups from abroad, perpetuated e conservative tastes of Finnish audiences by performing mantically-oriented repertoires. The few Finnish nposers who ventured into other styles found little :eptance for their works. Today Finnish composers are no longer under the fluence of Sibelius, and there is a diversity of styles >resented among Finnish writers. Composers have become :e cosmopolitan through study abroad, involvement in the :ernational Society for Contemporary Music, and the new :ternational" Finnish Festival (an outgrowth of the mer Sibelius Festival), which now includes chamber ic, "happenings," jazz, folk music, and opera, as well symphonic works. Finnish writers are now involved serialism, pointillism, use of oriental scales, and erimental instrumentation, as well as aleatoric and ctronic music. An international composition seminar ts annually in Finland and has attracted such ticipants as Lutoslawski, Penderecki, and Messiaen. CHAPTER I TWENTIETH-CENTURY FINNISH CLARINET MUSIC Before the twentieth century, Finnish composers glected writing concert music for the clarinet.1 Even belius, who made the clarinet a significant color in his nphonies in the first quarter of this century, did not in- ide the clarinet in his chamber works. Whereas centuries tradition had established voice, strings, and keyboard as a usual media for all kinds of Finnish concert music, the irinet was regarded as a military or folk instrument. lA noteworthy exception, however, was the Finnish iposer Bernhard Henrik Crusell (1775—1838). After playing ' several years in a Finnish military band, Crusell left : Stockholm at the age of sixteen for a career as clarinet :tuoso. In the following years he made several recital lrs to the Continent and studied composition in Paris and 71in. His compositions were greatly influenced by the inheim School of composers with whom he had much contact. )bably due to circumstances of tradition his vocal works :ame famous long before the clarinet works. Many of his .rinet works, however, which continue to be part of the .ndard clarinet repertoire in both the United States and rope are now published by Peters. His compositions for .rinet include: three concertos, three quartets, a certante for Clarinet, Horn, and Bassoon, and several __1______.___._,______ ____ ___._______ rinet duets. Unfortunately, Crusell's contributions to clarinet erature did little to inspire later Finnish composers in 5 area. Had Crusell lived in Finland a while longer the uation might have been different. At the University of Turku, Fabian Dahlstrom is now leting a doctoral dissertation on Crusell. Dahlstrom I discuss Crusell's biography and professional life, sell's recital repertoire, and his compositions. In the 1920's, when Finnish composers began 1corporating folk elements into classical music, the arinet began to appear in chamber music. The earliest rks were clarinet solos with piano accompaniment, in which 1e clarinet was treated as a folk instrument. Among the irst Finnish music to be published for clarinet and piano [8 Leevi Madetoja's Polska N9. 1 and Polska N9. 2. These re no longer published, but xeroxed copies are obtainable mough the Music Information Center. Idiomatic writing m both instruments, and compositional craftsmanship, make ese pieces suitable for concert use. Finnish clarinet and piano music of the 1930's and 40's tended to follow the example set by French impres- onistic clarinet and piano works. Except in occasional lk—dance movements (e.g., waltz and polka), the clarinet lody is usually song-like or dramatic in character. The ano accompaniment is decidedly secondary to the clarinet rt and is often homophonic. Among the works of this riod which are still being performed, the most popular Lauri Saikkola's Suite for Clarinet and 21233. Two her similar works of this period are Eino Roiha's iitatio and Sulho Ranta's Ea Sega. Typical of the vocal—type clarinet solo is storaali by the opera composer Tauno Pylkkanen. The rodic beauty of the clarinet solo and an effective piano mpaniment make a performance of this composition worth effort, in spite of the fact that it is in an awkward for clarinet. New dignity came to Finnish clarinet and piano music 954 when Erik Bergman completed his TEEee Fantasias for inet and piano, which was published by Westerlund2 in Three Fantasias is a skillfully-crafted twelve-tone which is musically and technically demanding for both rmers. A more recent work is Sonetto (1969) by Einojuhani avaara, who, along with Bergman, is one of the better— n contemporary Finnish composers. This one-movement al work is musically satisfying, and the two instru— al parts are effectively interwoven. However, the issimo disjunct legato lines in the Clarinet part 1d considerable technical finesse from the clarinetist; music would be more easily negotiated on a string :ument, with equally satisfying results. Writing idiomatically for the clarinet has been tblem for Finnish composers throughout this century.3 2Westerlund has recently been taken over by Edition 3Compositions for clarinet based on folk music, 8?, present few problems to the Finnish composer who ying to write music suited to the instrument since, i: case, the clarinetist's role has already been e . me of the Finnish composers play the clarinet, and few ecedents of earlier Finnish clarinet literature already ist. Consultation between composers and clarinetists has lped to ease the problem. A recent effort is represented the Concerto for Clarinet, Folk Instruments, and Small chestra (1970) by Pehr Henrik Nordgren, which was pre- red by Tapio L6tj6nen. This virtuosic concerto includes unusual clarinet effects,but exploits the high register. clarinet is most effective where it is treated as a folk trument. Some of the technical difficulties are a result unidiomatic writing in spite of the efforts between nposer and soloist to overcome this problem. A recent work in which this problem seems to have an overcome is the unaccompanied Elegia sooloklarinetille ’56) by Pentti Raitio. The composer attributes his :cess to the careful notes he had taken from a clari— List's lecture when he was a student at the Sibelius demy. Melodic cells and a twelve-tone row are important the construction of this work. Systematic exploitation of the idiomatic resources the clarinet occurs in Paavo Heininen's three-movement cantus II for unaccompanied clarinet. This work, which published by Edition Fazer in 1974, refers the player Bartolozzi's Neg Sounds £23 Woodwind (Oxford University SS, London: 1967) for assistance in producing glissan- . quarter tones, chords, and other special effects. 10 The availability of performers, as well as the stance of established performing groups, has been sig- icant in determining the type of clarinet music Finnish osers have produced in any one period. Many of the inet solos of the 1930's and 1940's were dedicated to Linnala, a former Sibelius Academy faculty member. In inki today there is an abundance of first-rate clarinet- who appear as soloists and chamber musicians: Paavo pinen, Mario Sgobba, Reino Simola (principal clarinetists :he two major Finnish orchestras),“ Tapio L5tj6nen (prin— 11 clarinetist in the orchestra of the Finnish National :a),and Koppel Smolar (clarinetist in the permanent Aulos 'inet Quintet). A Sibelius Academy theory professor, in Fagerlund, is another respected clarinetist, who ntly premiered the difficult Heininen Discantus I; gave the first performance of the Saikkola §EEEE in ia. Since the 1930's Finnish composers have capitalized 1e availability of professional woodwind quintets as :les for their musical ideas. The most frequently >rmed compositions for this medium include two Carl :en-like, tongue—in—cheek works by Lauri Saikkola; a iant traditional quintet by Nils-Eric Fougstedt; a l'Paavo Lampinen and Mario Sgobba are associate first- clarinetists in the Helsinki City Symphony. Reino a is first clarinetist in the Radio Symphony. ll nodern, contrapuntally complex quintet by Sulo Salonen; and a work by Erkki Salmenhaara which is reminiscent of lliott Carter. For the premieres of many of these works he clarinetist was either Eero Linnala or Mario Sgobba clarinetist for the established Crusell Woodwind Quintet). other quintet, by the well-known composer Joonas Kokkonen, ill soon be ready for performance. The existence of the Aulos Clarinet Quintet has ncouraged Jarmo Sermila to compose his Crisis (1973) for his combination of instruments. Experimental graphic otation necessitates considerable interpretive freedom. ontributing to the effect of group improvisation. Special ffects are frequent in all parts. During the years 1963—65 several younger Finnish omposers (all born after 1934) wrote a number of compo— itions for a nucleus of clarinet, violin, guitar, and arcussion._ Among these composers were Erkki Salmenhaara, iri Rydman, and Reijo Jyrkiéinen. Jyrkiainen wrote another )rk for clarinet, guitar, percussion, and flute, and yet other for this combination plus string quartet. Four unique works which are generally conceded to outstanding representatives of Finnish chamber music terature include the clarinet as a part of unconventional strumental groupings. In each of these works the clarinet S a prominent part which is well—written for the instrument. 12 The earliest of these works is the Konzert £23 Violine, Klarinette, Hegg egg Streichsextett (1925) by Aarre Merikanto. This complex composition contains many elements which were considered quite radical for its time. However, it was published by B. Schott's Sdhne in 1925 after being awarded a composition prize by the publisher. A dissonant atonal work of quite different character is Conference (1954) by Ahti Sonninen. This is a burlesque in four movements for clarinet, horn, trumpet, and trombone; the work was dedicated to the Virtuoso Chamber Ensemble of London. Erik Bergman wrote his twelve—tone Concertino ee Camera (1961) for flute, clarinet, bass clarinet, percussion, piano, violin, viola, and cello; the work will soon be pub- lished by Edition Fazer. In this composition Bergman demon- strates particular skill in selecting the ideal instrument and sPecial effect for pointillistic treatment of the material. The newest of these four large chamber works and the only clarinet chamber work to be commercially recorded5 is the Septetto by the young composer and string bass player Teppo Hauta-aho. It was the clarinet playing of Paavo LamPinen that inspired Hauta—aho to write this work for ____________________ 5"New Finnish Music" (subsidized by the Fgundat1on f0r the Promotion of Creative CompOSItion, Finlan ), Helsinki: Love Records, LRLP 57. l3 him and other members of the Helsinki City Symphony; the other instruments are bassoon, horn, violin, viola, cello, and string bass. Free tonality, jazz influence, and spontaneous musicality characterize this composition. Two other clarinet works by Hauta—aho are Sonatita (1969) for clarinet, horn, cello, bassoon, and string bass, and Trio for Clarinet, String Bass, and Percussion (1972). CHAPTER II ERIK BERGMAN'S THREE FANTASIAS FOR CLARINET AND PIANO The Composer After graduating from high school Erik Bergman (b. 1911) combined studies in musicology at the University of Helsinki with studies in piano and composition at the Helsinki Conservatory.l Encouragement from his composition teachers, Erik Furuhjelm and Bengt Carlson, helped him make the difficult career choice of composer rather than pianist. ‘In 1938 he received his diploma in composition, and con— tinued his studies in Berlin with Heinz Tiessen and in Switzerland with Vladimir Vogel. Now regarded as one of Finland's leading living composers, Bergman is a professor of composition at the Sibelius Academy. His compositions for voice, orchestra, and chamber groups have attracted attention outside of Finland, as evidenced by many foreign commissions and by performances of his works in several European countries, the United States, and South America. Bergman has received “w.— 1Later renamed Sibelius Academy. J 14 r___—____, , 15 many compositional awards, including the International Sibelius Prize of the Wihuri Foundation. Bergman is also well known in Finland as a music critic, and has gained recognition as director of two of Finland's best male choruses. He is a board member of the Finnish Section of the International Society for Con- temporary Music, the Association of Finnish Composers, the Society of Modern Music, and the State Music Board. Trips abroad (e.g., Greece, Asia Minor, Central Asia, Egypt, and Morocco) have involved Bergman in folk music research and added to his collection of nearly a hundred foreign instruments. His continuous search for new means of expression have led him through many changes of style, including Scandinavian romanticism, neo-impressionism, and orientalism. Bergman is the first composer to introduce serial composition to Finland (in the 1950's). Since the mid-sixties he has abandoned serial writing in favor of the avant-garde. His choir directing has brought him a fascination with Gregorian chant, as well as an opportunity to explore a variety of unusual choral evices. Besides his use of speech choir, he is fond of mploying quasi-instrumental effects and of adding one or ore instruments to the choral texture. One such piece, ritten in 1951, is his Nordisk X§£ for male chorus and 010 clarinet (published by Westerlund). 16 Bergman has a special liking for chamber music. In Suomen Savelt'ajia2 he is quoted as saying, "Transparent clarity, serenity, and unflinching logic are characteristics that I appreciate, and I feel that a 'small machinery‘ brings forth these qualities best-—at the same time as it most mercilessly exposes the lack of these virtues." One of the peaks of Bergman's production is the Concertino g3 camera, Opus 53 (1961), a twelve—tone work for flute, clarinet, bass clarinet, percussion, piano, violin, viola, and cello; this work was commissioned by Francis Travis for his ensemble, Hamburger Kammersoloisten. It was first performed in Helsinki on Bergman's fiftieth birthday, November 24, 1961, by members of the Helsinki City Symphony (Mario Sgobba on clarinet). The other chamber work by Bergman which includes clarinet is EEESE Fantasias for clarinet and piano, Opus 42 (1954), which was commissioned by Ian Hamilton. The first performance occurred in Paris on September 14, 1954. This work is in three movements; the first and third movements treat the two instruments with equal importance; the lyric middle movement features the clarinet. Throughout the ork subtleties in articulation and nuances make use of innari Marvia, ed., Suomen Saveltajia (Helsinki: erner Séderstrém Oy, 1966), p. 368, translated by Maija aldjian and Marcia Anderson. 17 the clarinet's versatility. Aside from trills, no special effects are demanded of the player. First Movement General Character The title Moderato grottescamente gives an immediate clue to the musical content of the first movement of Erik Bergman's Tegee Fantasias. Grotesqueness is herein char- acterized by disjunct, jagged melodic lines (including con— spicuous use of the tritone), fitted into clearly-defined rhythms, frequent meter changes, inconsistency of texture, sudden shifts in accents, and abrupt changes between legato and staccato. Throughout the entire movement the inter— action between the clarinet and piano is one of taking turns; if one instrument is moving, the other sustains a pedal tone or drops out completely. Only four times do both parts sound notes simultaneously. The resulting fragmentation gives the desired contorted effect. I231 This movement uses variation technique cast in an arch-like structure. The larger form consists of six smaller sections, the peak of the arch coming in the fourth section. 18 Section I Section II Section III mm. 1-16 mm. 165-30 mm. 31—41 Section IV Section V Section VI p_______4 mm. 42-67 mm. 68—82 mm. 83—91 Contributing to the overall arch—like form of this movement is a rhythmic arch, with rhythmic activity climaxing in Section IV. Section I opens with moderate :rhythmic activity and clearly-defined rhythms. In Sec- tion II new subdivisions of the beat bring freer rhythms and increased animation due to small note values. In Section III, along with more rhythmic freedom comes in- creased animation, especially in the clarinet part. In Section IV the rhythmic freedom is upheld, and animation is increased, especially in the piano part. In Sections V and VI there is a gradual return to less rhythmic freedom and less animation. The arch—like form may be further distinguished in terms of range and dynamics. In the clarinet part extremes 19 of low and high (written e to f#3)a are not reached until the third section. In Section IV these extremes are reserved for the climaxing phrase (measures 55-57) where f#3 dips to g just before the climax on A flat. In Sec- tions V and VI the upper clarinet notes do not exceed written db3 and c3, respectively, and the general range tends to be lower than in the previous two sections, the clarinet ending on written f#. For the most part the piano part remains in the medium range, seldom exceeding middle—C by more than two octaves in either direction. As might already be predicted, notes lower than this occur for the first time in Section IV, and do not reappear until the final section. Dynamically, the movement begins mezzo—piano and gradually builds up to fortissimo in Section III. The & 3Throughout this paper the following system will be used for octave identification. Q h ' fl- 7‘— / j}; A E ‘ r “I? c/ m - \— +————6— W b LII—fi— — __ / c ______ — ‘9‘ B 19 3 fij cl — B C : /-- 27 1 —— e9 :: c.0 b“ 20 fortissimo reached in Section IV is maintained longer than that in Section III, thus supporting this area of climax. In Section VI, fortissimo returns, but for a shorter time and with less intensity in terms of range and rhythmic activity. The movement ends pianississimo with one—voice texture and low notes for both instruments. Manipulation of dissonance is another factor supporting the form of this movement. This is discussed later in this chapter under Tonality and Dissonance. Melodic-Rhythmic Cells The principal unifying device throughout is a melodic-rhythmic cell. Apart from the pedal tones, everything melodic in both the piano and clarinet parts is generated from this basic melodic—rhythmic cell or its fragments, which are subjected to considerable modification and development. The principal cell appears in its original form in the piano part only. The clarinet uses as its pri- mary melodic—rhythmic cell a figure derived from the main piano cell. The piano introduces its melodic—rhythmic cell in the first measure: 21 Example 1. Three Fantasias, first movement, m. 1. The melodic—rhythmic cell recurs in its original form in measures 67, 85, 89, and 90. Variant I, which manifests note deletion of the principal cell, first occurs in the right hand in measure 2:“ Example 2. Three Fantasias, first movement, m. 2. It occurs subsequently in measures 19—20 (inverted), measure 68, and measure 34, although the last-mentioned breaks away from the disjunct shape. \— “In the piano part, occurrences of the cell and Its variants in the left hand usually complement act1v1ty 1n the ri9ht hand; therefore, attention to the cell and its variants concerns appearances in the right hand only. 22 Variant II (measure 3), is the inversion of the basic melodic-rhythmic cell: Example 3. Three Fantasias, first movement, m. 3. In measures 5 and 7 only the second half of the cell is inverted. In these cases, the rhythmic and disjunct characteristics of the basic cell are still intact, and familiarity is reinforced with each return. Variant III, an extension of the original cell, is found several times between measures 31 and 49; it is true to both the rhythmic and melodic shape of the original cell: Example 4. Three Fantasias, first movement, mm. 31—32. 23 Variant IV, which occurs for the first time in measure 70, is an abbreviated cell: Example 5. Three Fantasias, first movement, m. 70. it ”$1.4 .4: W ' fil It may be seen that all of the variants begin on the afterbeat as does the original cell. This basic melodic—rhythmic cell that is used in the piano part may be divided into two sub—cells. Example 6. Three Fantasias, first movement, m. 1. Piano sub—cell 1 Piano sub—cell 2 ;ub-cell 1 (7m ) occurs independently in measures 25-26 md measure 86. Variants of it appear in the form of YJU e.g., measure 17) and in the form of 7);? (e.g., measures 9‘80). A compressed version of sub—cell 1 is 7J3 J (e.g., 24 aasure 9) which bears some resemblance to sub-cell 2. Llled in, sub-cell 1 becomes 7B W) (e.g., piano part, :asure 10); this could also be regarded as a filled-in arsion of the abbreviated cell. Extended filling in of lb-cell 1 later appears as 7 (measure 29) and (measure 37). Since sub—cell 2 (SE13 ) :ver occurs on the beat in the piano part, it may be said Tat it is not treated developmentally in this part. The clarinet has, as its primary cell, a figure cognizable as the filled—in version of piano sub-cell 1 ' () ). Although usually disjunct and jagged (e.g., asure 6), the melodic shape may contain as many as four nsecutive notes in the same upward or downward direction, in measure 8. The afterbeat characteristic of both this imary clarinet cell and the original piano cell is signif- ant to the texture, as will be discussed later in this apter. Variants of the clarinet cell are the extended rsion (e.g., measure 13) and the abbreviated rsion 7JjaJ) (e.g., measures 9-10), and ijjj‘7(e.g., asure 15). Diminution of the extended version also Dears (e.g., measures 24-25). The clarinet melodic-rhythmic cell may be divided :0 two sub-cells: 25 Example 7. Three Fantasias, first movement, m. 6. W W Clarinet sub—cell l Clarinet sub—cell 2 hese sub—cells are often varied independently even when :curring together as in measures 35—36: Example 8. Three Fantasias, first movement, mm. 35-36. con [orzu CQ—fL—TiPflTt-T' #1. jg 93E eg;p:; 63 b? risolum ’ [’3 +1 g fl ' —--1"—- q_-_-. -'-- a l——.‘.-J-- _I- Sub—cell 2 of the principal piano melodic—rhythmic ell appears occasionally in the clarinet part (e.g., in he form 537 in measures 3, 4, and 33) . The patterns ,6 7 f measures 40 and 41 and iii of measure 55 are closely slated to the piano sub-cell 2. Since the two principal cells and their sub—cells re so similar in character, designation as to variant is acessarily somewhat arbitrary, especially where rhythmic .splacement might be taken into account. e Twelve—Tone Row The twelve-tone row on which this movement is based Psists almost entirely of thirds and tritones, facilitat- g the jagged melodic contour. A matrix of this row is esented on page 27. Bergman employs fifteen different versions of the w throughout this movement, the original and its trans— sitions occurring more often than the retrograde, Iersion, and retrograde—inversion forms combined. L__— Matrix for First Movement of Bergman's Three Fantasias 12 11 10 9 8 7 6 5 4 3 2 1 l E C F# D# C# G A# D F B G# A 12 2 G# E A# G F B D F# A D# C C# 11 3 D A# E C# B F G# C D# A F# G 10 4 F C# G E D G# B D# F# C A A# 9 5 G D# A F# E A# C# F G# D B C 8 6 C# A D# C A# E G B D G# F F# 7 7 A# F# C A G C# E G# B F D D# A6 8 F# D G# F D# A C E G C# A# B 5 9 D# B F D C F# A C# E A# G G# 4 L0 A F B G# F# C D# G A# E C# D 3 L1 C G# D B A D# F# A# C# G E F 2 L2 B G C# A# G# D F A C F# D# E 1 l 2 3 4 5 6 7 8 9 10 11 12 RI 0 = original R = retrograde inversion R1 = retrograde-inversion ides 0,1-E, forms of the original include, in order appearance: O,9-D#; 0,4-F; O,6-C#; 0,10—A; and 0,5-G. rograde forms include: R,1—A; R,9—G#; R,10-D; R,12-E; R,8-B. Two forms each of inversion and retrograde— ersion are employed: I,l-E and I,4—D#; and RI,1—B and lZ-E, respectively. The various forms and transpositions the row do not coincide with either basic melodic- thmic cell. Throughout the movement Bergman tends to use each sion of the series quite strictly; serial manipulation held to a minimum and all numbers (1—12) of a particular ies are usually presented. The three most common ap- aches to row distribution as used in this movement are: horizontal-vertical (in which the row is simultaneously red horizontally and vertically), (2) horizontal (in ch the row is distributed horizontally only), and, s often,(3) leapfrogging (in which numbers of the row distributed in an arithmetic sequence followed by a equent similar rendering of the previously skipped ers-—e.g., l—3—5—7—9—ll, 2—4—6—8—10—12)- The horizontal technique is used exclusively in clarinet part, but only where it is unaccompanied. where the clarinet and piano share the row, usually by s of the horizontal-vertical approach. The horizontal— ical technique is sometimes used by the piano alone. 29 In a few places of sparse texture (e.g., measure 57), this borders on the horizontal technique. Example 10. Three Fantasias, first movement, m. 57. '2 '- here leapfrogging occurs, it exists in conjunction with he horizontal-vertical (e.g., measures 5; ll, 34, and 37). aasure 37 illustrates this approach: Example 11. Three Fantasias, first movement, m. 37. 30 ture Although sequential and imitative treatments of 3 cells are frequent, counterpoint is of minor signif— ance in the first movement. This movement is basically nophonic, with the clarinet assuming the main melodic Le. The piano is active only where the clarinet sustains lal tones. Continuity throughout the movement is estab- :hed partly by the interplay between the two instruments, ch take turns in presenting the accented beat and wering with one of the two main melodic-rhythmic cells ch begin on the second half of the beat. Density of ture varies between one and seven notes. Sequence is used both as a unifying device and as eans of achieving tension. Sequence may be either odic—rhythmic,as in piano measures 5-8, or rhythmic {, as in clarinet measures 4-9. Example 12 illustrates 5e two. 31 Example 12. Figure a. Three Fantasias, first movement, mm. 5-8. Figure b. Three Fantasias, first movement, mm. 4-9. ample 10 shows the piano presenting a stretto-like Inence in measure 57. Close-range imitation between the two instruments measures 9—12 helps create an effective drive to the peak :e (written A sharp in the clarinet part) of this S€Ct10n- Example 13. Three Fantasias, first movement, mm. 9—12. qf I“ ,—-——~\ >/,_._—_‘\ /& L>/-—\ .. poco cresc. I i 1‘ 7 fit 1 110 III. J- 'II 'L' I J1, I L :l‘ I; I J )- fix r I w 11- T r 1 1 h- 1 La F I — 'II T h T I j fir '7 I r fi if N: p060 CTQSC. itself, rhythmic imitation between the two instruments Ictions similarly in developing unity and tension .g., measures 14—16, and 37-39). The only example of invertible counterpoint (at a octave) comes in the first two measures. This provides means of reaffirming the basic tone row as well as the ic melodic—rhythmic cell without resorting to direct etition. thm ____ In spite of the constant moderato tempo, the 3 2 l 3 2 l 3 . quent meter changes (4, 4, 4, 8’ 8’ 8’ and 16) prov1de Dmewhat flexible framework for working out the clearly— Lned rhythms of the melodic—rhythmic cells and their Isformations. The rhythmic interplay between the 33 rinet and piano tends to set up a pattern in which strongly accented note produced by one instrument is wered by the other instrument on the weak part of that t. This response by the second instrument not only ively supports the sustained tones of the other part, often acts as an anacrusis to the next strong accent. 5 pattern is often continued relay-fashion: an anacrusis 5 accented beat in one part, followed by similar activity :he other (see Example 13, p. 32). This relay-type :ern propels the music forward. In measures 67-68 the :ern is used along with a subito dynamic change to make 100th transition into Section V. When this pattern (ks off, there is a feeling of repose. For instance, Leasure 30 the piano's accented chord does not bring usual response, but rather concludes Section II, before pattern resumes in the following section. The anacrusis may be brief, as in measure 4 and ure 9, or extend over several measures, as in measures 6 and measures 49-57. Since this rhythmic interplay has become so custom— by Section IV, the climax of this section (as well as of the entire movement) can be said to arrive on the neat of measure 57, following the longest anacrusis of (eight bars). 34 @lity and Dissonance There seems to be some tonal—centeredness on E in s movement, although this tonality is well-obscured. original row beginning on E is presented along with t not coincidental to) the principal melodic—rhythmic 1 both at the very beginning and at the end of the ement. In the opening measure the clarinet begins with efore the piano joins in, this note being sustained and sated by the clarinet; in the final measures of the ament not only does the clarinet initiate the original with E but also concludes with E as its final note in last measure; in both Sections III and IV the clarinet Lns on E; throughout Section VI this note achieves prom— lce, not only in measures 89 and 91 as mentioned earlier, also by means of the clarinet's fortissimo E sustained three measures. The clarinet and piano sound notes together only ' times in the entire first movement, three times in ures 2 and 3, and once in measure 86. Elsewhere, when 0 and clarinet are sounding together, the piano is ging vertical sonorities below a pedal in the clarinet . Therefore, harmonic tension can best be analyzed in s of the piano part alone. The four exceptional moments e the two instruments coincide do not significantly ct the tension level at those points. 35 Reginald Smith Brindle's chapter on "Twelve-Note :mony" in Serial (Eggposition5 served in this chapter as :eference for determining the tension values6 of the >rds in this work. These chords are systematically Lssified as follows: CC = strong consonance (only fourths or fifths) C mild consonance (major or minor thirds or sixths) N = neutral (tritone) M = mild dissonance (major second or minor seventh) S = strong dissonance (minor second or major seventh) :11 ll harsh dissonance (major second plus minor second, or minor second plus minor seventh) VH = very harsh dissonance (two minor seconds). this movement all levels of dissonance are present. VH sonance occurs only once in each of the first five sec— is; with the exception of measure 23, this VH dissonance 15ed in prominent places for particular effects: Measure l6--followed by a chord of lesser dissonance, the VH dissonance produces a feeling of cadence leading into Section II Measure 35——VH dissonance introduces a clarinet passage which rises to the first strong peak in the movement 5Reginald Smith Brindle, Serial Composition (London: rd University Press, 1966), PP. 61-88. 6The degree of dissonance is determined by the ngest interval in any vertical structure. 36 Measure 42——VH dissonance introduces the clarinet again, at the same time initiating the culminating section of the movement Measure 79——VH dissonance followed by a chord of lesser dissonance, cadences into measure 80. In Section VI, which contains the secondary climax the movement, the VH dissonance begins and sustains sion in the first chords of measures 83—86. On the last rd of measure 86, a VB dissonance results from the combi- ion of clarinet and piano sounding together, thus rein- cing the feeling of cadence into the final measures of dominantly mild dissonance and consonance. By controlling the vertical structures, Bergman ates tension and relaxation to give shape to the movement. Section I he tends to favor consonance along with a thin :ure; this helps to clarify both the tone row and state— 25 of the piano and clarinet melodic-rhythmic cells. In :ion II greater dissonance supports the more animated :hm in the clarinet part; harmony becomes progressively t consonant as the clarinet part relaxes. In Section III (ssonance introduces and supports rhythmic animation in clarinet part. VH dissonance opens Section IV, the peak of this -like movement. Noteworthy is the way in which Bergman harmonic tension in measures 46-49. 37 Example 14. Three Fantasias, first movement, mm. 46—49. NSSHS MC HMCMM HS measures 46—47 dissonance resolves to consonance, lnding off these six measures before continuing the .ld-up to the climax. In measures 48—49, movement toward tater dissonance moves the phrase onward. In measures 57, 59, and 62 increased rhythmic mation in the piano part compensates for the lack of sonance. In measures 63-64 H dissonance picks up where mation leaves off. The transition from the H dissonance measure 67 to the M dissonance in measure 68 gives eeling of cadencing into Section V. In both measure 70 measure 73 movement toward lesser dissonance produces idential feeling which rounds off each phrase, whereas measure 75 movement toward increased dissonance moves phrase forward. Dissonance is strongest in Section V :he Climax (around measure 80). 38 Mention has already been made of the VH dissonance ng Section VI, and the H and VH dissonance introducing upporting dynamic intensity in the clarinet part. In ast five measures of the movement a quieter mood is lished by the use of more consonance, a lower dynamic , and lower registration of both the clarinet and piano. factors are effectively combined with the return of riginal opening melodic-rhythmic cell in concluding the movement. Second Movement a1 Character The second movement of Bergman's Thggg Fantasias is i Adagio elegiaco (J==54—58). A consistent espressivo itando quality is achieved through the use of generally 1ct melodic lines, repeated notes, and freely shifting 5; rhythmic imitation and non—retrogradable (palindrome) is also contribute to this consistency. The use of >mpanied clarinet throughout most of this movement i a nostalgic soliloquy; the piano has only three Es, each of which is limited to brief chord progres— that add color and help shape the movement with added 'e and dissonance. u 39 This movement is made up of three main sections in Epilogue. action I Section II Section III Epilogue 5 . F fi: ' m. 1-20 mm. 21-30 mm. 31-45 mm. 46-58 lajor climax comes at the end of Section III (measure where the lowest note of the clarinet's range (written e) is reached for the first time. Lesser climaxes on the downbeats of measures 19 and 29, at the ends ctions I and II, respectively. Each section has a definite melodic contour built 5 own series of motivic sequences or rhythmic imita— and repetitions. Section I consists of two inverted S, the second being larger than the first, the melodic ur of Section II is a descending line; Section III another descending line which begins a half step r and drops to an octave lower than that of Section II. ?ilogue repeats and reinforces the general contour of an III. Section I. The first inverted arch of this section 5 about one and a half octaves of the clarinet's middle . 1 . the arch begins on written e2, dips to f in measure 5, :hen climbs to c#3 by measure 7. The first measure of [rch is introductory, measures 2 and 3 are mirrored by tres 4 and 5, and measures 6 and 7 round off this first :e. Example 15. Three Fantasies, second movement, mm. 2—7. _ _ h... fie- . . .- - - --.a-v——i-—I -——-Iu.-,-rI-- The second inverted arch of this section (measures has a more expanded range and covers more measures the first. This arch begins on e3 (an octave higher the first arch) and dips to small b, two and a half as lower (measure 13), before it returns to the upper ter. Measure 8 is introductory, but the dotted rhythm 3 first two notes is imitated in measure 9 and again isure 10, the intervals being expanded with each fence. Measures 11—13 extend this phrase to its lsion. 41 Example 16. Three Fantasias, second movement, mm. 8-13. d n Eire: .~ 1" twfl. n - l-_I-—_-‘- - -—'_-:—-l-_ The ascending half of this arch (measures 14-19) 'ows sequentially (with rhythmic contraction and intervalic :pansion) out of the five—note rhythmic motive of measures :-15. The piano entrance (measures 19—20) rounds off this :ction with augmentation of the last three clarinet notes. Example 17. Three Fantasias, second movement, mm. 14-20. i ! E ii I l I I 42 Section II. The descending contour of this section 1ds its way downward from c#3 to small a by using three >rt sequential phrases, completed by a two—measure phrase. Lsures 23-25 are sequential to measures 21—22; the extra Lsure extends the second phrase. Measures 26—27 are (tracted by deletion of the last eighth note. Example 18. Three Fantasias, second movement, mm. 21-27. /’::E;Ei> -u::: _ ::::=— p. E555 b,/””__I;T——_‘~“‘\\ //”—_— n ##3 9- r-b. 1 IIg-i——f—-gi?t::g:jfi:qtigfij I In ‘12 m 1‘] I 10 _} Y I ) h I n n W : In this section the final two measures of the rinet part (measures 28-29), which foreshadow the thmic motive of the next section, are a quasi-diminution :he piano part occurring below it. 43 Example 19. Three Fantasias, second movement, mm. 28—30. Section III. This section begins with a three- ‘ure ascent from g#2 to d3 which is followed by nine ures of downward movement leading to the clarinet's e, the climax of this movement. All five phrases een measures 33 and 43 are sequential to the two— ure motivic phrase which initiates this section: ures 33—34 extend the motive with an extra two beats; ures 35—37 delete half a beat at the beginning of the se; in measures 37-38 the motive is rearranged. The phrase is a quasi—augmentation of the original motive, all as a melodic contraction of measures 35—36. The a piano Chords which conclude this section imitate the mm of the first three clarinet notes in measures 37—38. 44 Example 20. Three Fantasias, second movement, mm. 31-45. énzk‘fj (7-4.5 i Bil—:42: :{y iii: [2; i'.‘ ii; mp< my :::::==—— 0 , I" a} - :3 33:;‘3123‘ {.5 7 Hi. we VV 111) Epilogue. The Epilogue consists of additional iants of the motive presented in Section III. The :hm J w of measures 31-32 returns in a tied version ) in measure 46, immediately followed by a filled—in, 1 version ( YDJ n ) in measure 47. In measures 48—51 L3_J~« head and tail (extended) of the motive are separated by lighth—note rest. The long—short—long pattern of the rinal motive returns in measures 52—53; the last two IS of measures 52—53 recur an octave lower in the final ures. Example 21. Three Fantasias, second movement, mm. 46-58. A A W p t‘ L 1 #2 #1 f b. 1' n- I I II- I I I). I I A In I I I II In I" 'V I n- I I I L I ‘1 I 7 I I I' [UM I I T .1 ll IU I I r I C k I I I k I l J 41’ l I I I I I II I I 1 I ‘1— ‘ I ‘ \‘l I‘i I I1 ' I I I <0: > p 11> l <| > pp A l 1 II |'\ I 1 II] 1 g; I! I II I I\ I‘V I 4 I II- -- H Ti I I I 1‘} A I VII LI— 1 r "‘—" ‘ 1 ' "'J’"""“‘— ———n L I I L l I II I I I I I I I I I I A ll I’Pl’ smnrzamlo z Twelve-Tone Row For this movement Bergman builds a twelve—tone row :irely on major and minor seconds and thirds. He uses :se intervals to achieve a generally conjunct melodic e of expressive vocal quality. A matrix of this row given on page 46. Only six different versions of the row are employed this movement. The original form of the row (0,1—D)7 used horizontally for the first two clarinet statements horizontally—vertically for the first piano entry. In sures 35-58 the clarinet uses two statements of RI,1—F; the first occurrence the row is stated horizontally in clarinet part, and in the second occurrence the row 15 :ed horizontally with the piano part. Another version 7See Matrix, page 46. 46 Matrix for Second Movement of Bergman's Three Fantasias II inversion R1 = retrograde—inversion 12 11 10 9 8 7 6 5 4 3 2 1 D C# A# C G# E F# D# F A G B 12 D# D B C# A F G E F# A# G# C 11 F# F D E C G# A# G A C# B D# 10 r];4' D# C D A# F# G# F G B A C# 9 G# G E F# D A# C A B D# C# F 8 C B G# A# F# D E C# D# G F A 7 A# A F# G# E C D B C# F D# G 6 C# C A B G D# F D E G# F# A# 5 B A# G A F C# D# C D F# E G# 4 G F# D# F C# A B G# A# D C E 3 A G# F G D# B C# A# C E D F# 2 F E C# D# B G A F# G# C A# D 1 F177 2 3 4 5 6 7 8 9 10 11 12 RI 0 = original R = retrograde 47 :h occurs twice is R,4—C#; it occurs horizontally- tically both between the two instruments in measures 29 and in the piano part alone in measures 43—45. Forms the row which occur only once are, I,l-D (clarinet, izontally, measures 15—19), R,1-B (clarinet and piano, Lzontally, measures 21—26),and RI,5—B (piano and clarinet, izontally—vertically, measures 30—34). Every statement of the row uses all twelve notes of series in strict order. Repetition of notes occurs only the Epilogue, where numbers 4—5 (measures 46—47) and num- 5 10—12 (last seven measures) of RI,1—F are repeated. In :e of the strict ordering of the series, Bergman manages present each selected form of the row in a way which 15es on D as the tonal center. There are two cases where row statement coincides with the phrasing; the opening ement of O,l—D (measures 1—7) and the first statement of .—F (measures 35-43). In both instances another state— : of the same row form (which is not coincidental with phrasing) follows immediately after the first statement. epeating O,l—D (measures 8-14) at the beginning of the nd inverted arch of Section I, the composer establishes y with the first arch, in spite of the octave displace— s and new rhythmic motives. The repetition of RI,1—F sures 45-58) smoothes the transition between the third ion and the Epilogue while confirming the return to the nal center. 48 llity and Dissonance In the second movement Bergman establishes D as >na1 center through prominent placement. The unaccom- .ed clarinet begins and ends this movement on D; this : initiates the second as well as the first phrase of :ion I; the final three clarinet phrases all end on D. The note D is also given prominence in the piano 1. This note is uppermost in the opening chords of the :t piano entrance (measure 19). The second piano 'ance (measure 26), following immediately after the 'inet's C# in the previous measure, also features D at top of its first chord. In the following piano chord .sure 28) D is on the bottom and A (its dominant) is on The final piano chord has D uppermost and A on the om. The tonality is often blurred by the outlining of ented chords in the clarinet part (e.g., measures 3, I 16—17, 23—24, 26-27, and 31—32). The dissonant piano ds also contribute to the tonal obscurity; whole tone ds occur in measures 20, 43, and 44. At the end of Section I the piano chords move from issonance (measure 19) to neutral (measure 20). Simul— ously, there is a gradual spacing out of intervals as left-hand and right-hand chord streams expand outward antrary motion. These combined factors produce a ing of resolution which concludes this section. 49 At the end of Section II the two chord streams ain expand outward by contrary motion, this time against e descending clarinet line. The movement from H disso- nce (measure 26) to VH dissonance (measures 28, 29, and ) in conjunction with the rising line of the upper notes the chords, propels the music forward and prepares for e upper-register clarinet entrance in measure 31. The final three piano chords which come at the end Section III progress from M to H dissonance as they, too, pand outward. The smooth transition between the third ction and the Epilogue is thus similar to that between ctions I and II. ythm In the second movement free recitative—like rhythms e within shifting meters of 2, 4' i, §,and a. With the eption of the triplet in measure 47, all divisions of the t are duple. Rhythm follows the melodic contour in shaping each tion. The first inverted arch of Section I (measures I begins slowly, gains momentum (with small note values) ard the middle of the arch, then slows down again at the The second inverted arch (measures 8-19) moves from 11 note values in the beginning measures to large note ues in the middle, then back to small note values again 50 : the end; thus, energy is dissipated in measures 12 and I and regained in the following measures. In measures I-20 the momentum is slowed down by the piano playing [augmented version of the preceding clarinet rhythm easures 18-20). The rhythmic energy of Section II remains fairly ;able throughout until the pace is slackened in the last aw measures. In Section III the rhythmic energy gradually .ssipates toward the end of the descending line. Rhythmic .imation is regained at the beginning of the Epilogue but .is again released by the final measures. The repeated and imitated rhythmic patterns, used .augmentation and diminution, and a series of non- trogradable rhythms,a contribute to the rhythmic unity this movement. namics A low dynamic level prevails throughout the entire cond movement with the espressivo g recitando character couraged by the many nuances. In Section I the dynamic level remains at piang til the first piano entrance (measures 19-20) which is eSee Rhythmic Skeleton, p. 51, for illustration of 1—retrogradab1e rhythms. A mam» m: . H w Mmflmmw now when pwflwflamfiflm coon w>mc mouoc cos» we umommc coen3 mwsam> muozv Ecpmcu wanmpmumouumnlccc n mmz =1. 3 E... 1.2. :15: 7 7:71.? a: 2.: 72. 7.1.71. sewer: 7.: . . 77”... be: canal? H7639 metastaaifi 77413 $21.. 22 Niel. e 77:3: yea 2. H COflnwoww HHH soauomm «macumcn mammomum 52 :zo-forte - mezzo-piano. Piano dynamics prevail 'oughout all of Section II. In both Section III and the Epilogue dynamics Isely follow the descending melodic contour. Section III ins mezzo-piano, then crescendoes to quasi-forte (measure on the clarinet's written d3, the highest note in this ement. Measures 35-38 drop back to piano, and the lowing measures (39—45) are pianissimo. The dynamics of the Epilogue are similar to those Section III but one dynamic level lower. The first sure opens 21229, then quickly crescendoes to 32259— 29. From here the dynamic level drops to pianiggimg measure 51 and finally to pianississimo with gmgrgangg measure 55. W eral Character The last movement Comodo g_pggg rubato of Bergman's gg Fantasias is the freest of all three movements in swing considerable rubato, as well as flexibility of 90, character, texture, and row distribution. The focal 90 of this movement is J = ca. 84 (as established in the 5t fifteen measures); deviations to either side of this P0 contribute to the dramatic tension. Expression marks a as the following indicate the varied character of thls 53 ement: energico, con gravita, con grazi, libero, assionato, tumultuoso g stringendo, and furioso. IS Analysis of this movement reveals free variational unique cast in three sections. Section I LSection II J 1, Section III .. mm. 1—38 ' mm. 3815-76 ' ' mm. 77—129 >ndary climaxes occur at the ends of Sections I and II, ultimate climax being reserved for the final measures :he movement. Measures l-15 of Section I are static due :he repetitious presentation of the basic ideas to be ed out in this movement. Beginning in measure 16, 2993 BHEBQQ §_££§§ggg§g and animated development of the basic 5 lead to the climax in measure 38. The pggg adagio (measures 38-46) cools down the usiasm just engendered and introduces the tempo for ion II, which begins at the andante. The new tempo, 9 even slower than that at the beginning of the movement, 5 the acceleration and build-up from the narrow—ranged, argic clarinet statement of measure 48 to the impas- ed climax (measures 71—73) all the more momentous. The 54 Lno confirms the end of Section II with three measures lultuoso §_stringendo concluding in a fortissimo trill. Section III builds on the excitement already .ablished, and carries it through sharper articulation, well as gradual increases in tempo, dynamics, and thmic animation to the final climax. Throughout the movement the twelve—tone row itself ves as the basis for all thematic material. A matrix of 5 row is given on page 55. Section I. In the first half of Section I an ipresent ostinato built on numbers 9-12 of the original I 0,1-A#9 (A, F sharp, G sharp, D sharp) is important in ablishing a tonal center on G sharp. Against this inato occurs a gradual spinning out of the row. The ning half-step interval of the row (A sharp-B) thus omes prominent through reiteration. After an eight- sure piano introduction in which the right hand gradually eals the row against the ostinato in the left hand, the rinet spins out the row but in less time (five measures). inning at measure 15 and continuing through measure 30, clarinet and piano continue to emphasize the tones A 5P and D sharp, utilizing the original and retrograde as of the row. 9See Matrix, p. 55- 55 Matrix for Third Movement of Bergman's Three Fantasias 12 11 10 9 8 7 6 5 4 3 2 l A# B E D G F C# C A F# G# D# 12 A Bb Eb Db GI: E C B Ab F G D 11 E F B); Ab Db B G F# Eb C D A 10 F# G C A# D# C# A G# F D E B 9 C# D G F A# G# E D# C A B F# 8 D# E A G C A# F# F D B C# G# 7 G G# C# B E D A# A F# D# F C 46 G# A D C F D# B A# G E F# C# 5 B C F Eb Ab Gb D C# Bb G A E 4 D D# G# F# B A F E Db 8!? C G 3 C C# F# E A G D# D B G# A# F 2 F F# B A D C G# G E C# D# A# 1 l 2 3 4 5 6 7 8 9 10 11 12 RI 0 = original R = retrograde R1 = retrograde-inversion H II inversion 56 In measure 30 the retrograde of the ostinato returns 1 the piano part, followed by two measures of sequence. 1e last notes of these groups descend by seconds: C, B, A, aspectively. In measures 33—38 some manipulation of the >w order gives the clarinet a solo in which six pairs of :conds occur; sevenths result when three of these are .splaced at the octave. Example 22. Three Fantasias, third movement, mm. 33—38. R,1-D# O l-A# energico pom) string. # Section II. Measures 38—46 (pogo adagio) function an introduction to Section II. Block chords initiate a ower pace and create a more relaxed atmosphere. From the ginning of the andante up to measure 72, the piano part nsists solely of cascading bell—like build—ups of notes the ostinato. Sustained, these notes become chords. is recurring ostinato preceding each clarinet entry and stained beneath it, has an unsettling effect, which con— ibutes to the build—up of tension. The first clarinet try (measures 48-52) is of narrow range, rhythmically 39, and unambitious. The next entry (measures 54—58) 57 similar to the first, but the expanded intervals, arging the range, give it more life. From then on, sequent clarinet entries continue to increase in nation with higher and/or wider range, smaller note ues, accelerando, trills, and more intense dynamics, i1 the section climaxes at the end of the last clarinet tement (measure 73). Each clarinet response to the ostinato is either a pletion of the R,1-D# form of the row, already begun by piano (e.g., measures 48-52), or a statement of the ning eight numbers of O,l-A# (e.g., measures 54-58), bers 9-12 being completed by the piano ostinato. Both ms of the row are here presented quite freely. In each the first five statements, the numbers of the row occur order, but once a number is used, it is repeated at will 11 the whole row is used up. Thus, the row becomes jected to new horizontal development through the use returning note groups, as may be seen in the following nple. 58 Example 23. Three Fantasias, third movement, mm. 48—52. R,1-D# libero D Pe5pr. ,_fi 50 lO 10 QIT _f._!_.‘___f3___ I—EfiV ll r’“7“'1 >I’l) I I I I I I I, I I VlfllVflfifiI I I I F— I If Each clarinet entry opens with the half—step head :ive; thus this section, with the ostinato supporting Ltements of the row, is a variation of the process used ‘e simply in the first section of this movement. Section III. This section begins with persistent :sonant repeated chords in triplet rhythm, a rhythmic ure which is recurrent throughout this section. In the st half of Section III(measures 77—101) the original inato in retrograde (R,1-D#, numbers 1—4) is treated h horizontally and vertically (sometimes transposed) ost to the exclusion of the head motive. A second inato is also briefly used (in measures 81—84 and 87—88). At the beginning of measure 102 it may be seen that octave-doubled bass notes correspond to the downbeats of previous three measures and thus form a smooth tranSl— n into the second half of this section. (These notes are ransposition of the basic ostinato.) In measures 111—116 clarinet exploits pairs of seconds (based on the head of rOW) exclusively. Avoidance of the ostinato (except in 59 chordal form) in these measures, makes its return in measure 119 more noticeable. In measures 117-129 statements of O,l-A# are reunified with the horizontal form of the ostinato (as in the beginning of the movement), and an unequivocal return is made to the tonal center, G sharp. Distribution of the Row In the twelve—tone row of the third movement,1° major and minor seconds predominate, leading to the desired flowing melodic line of free, rubato character. The row also includes four perfect fourths, and three major and two minor thirds. Bergman uses ten different versions of the row throughout this movement. The original form of the row (O,l-A#) and its retrograde (R,1-D#) occur most frequently, each more often than all other Versions combined. Only three other versions of the row appear more than once; these are O,lZ—F; R,12-A#; and R,6—G#. Occurring only once are O,lO-D; R,7—C; R,5—F#; I,l—A#; and RI,1-F. In this novement, selection of a particular version of the row is nade with considerable regard for its tonal implications. Certain tones are also made prominent through occasional manipulation of the row. This deVlce occurs 1°See Matrix, p. 55. 60 (pecially in the third section, where all six clarinet .ssages (containing returning note groups) are sandwiched :tween A sharp and B sharp. In measures 71—73 numbers 5—12 R,l-D# are grouped by two's with the order being shifted —6, 11—12, 7-8, 9—10); here also, the returning—note—group proach is in operation. The example below shows how this carried out. Example 24. Three Fantasias, third movement, mm. 71-73. o =—‘.__ ____,= -' _—__----. l-‘l' II, "E— -— ___.._ 41...... - a—— ————.-m=l==-‘lu‘- —:-"—-= -_-i—-l-:;—-:iE_-\ ‘===—_- -—' .‘I. v-I: I:”I-( Segmentation (in which the series is divided into rious segments and these allotted to each part) is often ed in this movement. The frequent occurrence of the tinato (O,l—A#, numbers 9—12) accompanying the spinning t of the rest of the row has already been mentioned. In asures l8—19, numbers 1—8 of O,l—A# are divided into gments of two notes each, and these are horizontally stributed by alternation between clarinet and piano. Closely related to this segmentation is the way in ich the horizontal—vertical approach is usually rendered this movement. The tendency here is to state a section .1 \ 61 of the row in one part and to continue the row in the other part in tandem, so that both instruments are not stating these separate sections simultaneously. Example 25 illustrates this procedure. Example 25. Figure a. Three Fantasias, third movement, mm. 42—43. O,l—A# 7 8 9 10 ll Figure b. Three Fantasias, third movement, mm. 109—111. 62 An example of leapfrogging occurs in measures -101, where the odd numbers taken by the piano dovetail th the even numbers taken by the clarinet. Leapfrogging so occurs (slightly altered) in measures 87-89 (numbers 5, 9, 12, ll of R,l-D# presented horizontally). In this movement horizontal distribution is the most evalent of all methods of presenting the series, although a complete row occurs only eight times in this way. 'Many complete statements of the row are presented horizontally, cluding, of course, the ostinato. Simultaneous use of the same form of the row dependently in each part does not occur in this movement cept where one part has a segment of the row against a gment or a full statement of the row in the other part ee discussion on segmentation above). Simultaneous use of different versions of the same ries occurs four times in this movement. Three of these cur where the piano has stated the ostinato notes of l-D# (numbers 1-4) and SUStained them, forming a chord, ove which the clarinet plays 0,1—A# (numbers 1-8), the st few notes continuing after the Chord is released. ch an example may be found in measures 53-58. I__——__"— 63 Example 26. Three Fantasias, third movement, mm. 53—58. 3 different versions of the row are overlapped in asures 20—21, where the clarinet begins R,l—D# while - piano continues for three measures with numbers 9—12 O,l—A# to bring that row (already begun) to completion. ture Although thematic materials (i.e., the main ostinato, well as the head and full statement of the row) undergo iational treatment, contrapuntal techniques are minimal the third movement. In spite of each part trading off h the ostinato and unfolding of the row, rhythmic dis— cement usually prevents the two from coinciding in the e way twice. Therefore, invertible counterpoint does occur. In measures 1—22 repetition and imitation are ntiful both in the ostinato and in the spinning out of row. f__—___i 64 Beginning with measure 23 a fanfare of sequential block chords breaks the monotony of the opening measures and emphasizes the head motive which will be the focus of the remaining measures of Section I. This second half of Section I is composed entirely of sequences. In measures 28-30 the clarinet continues beyond its sequence pattern to round off the piano rhythmic sequence by imitating it. A sequence is repeated three times in the piano part (measures 30-32) while the clarinet has a rhythmic sequence above it; Section I is concluded by the clarinet resuming its just-stated sequence, rounding it off with the ostinato (measures 33-37). The six clarinet statements of Section II (measures 47—73) show relatedness to one another, but sequential treatment and repetition are not used. From the beginning of this section to the end of the movement traditional polyphony and homophony are non—existent. Rather, the relationship between clarinet and piano is diagonal, with the parts alternating. Throughout Section III two textures prevail: inter— mittent block chords (repeated up to five times, and usually within a triplet rhythm) and monophony. The clarinet often plays unaccompanied for one to three measures at a time; the piano part is frequently reduced to essentially one line by progressions of parallel octaves. The use of octaves, as 65 opposed to a single note, serves an idiomatic purpose and also braces the piano against the dynamic strength of the clarinet. The simultaneous articulation of clarinet and piano in measures 93, 98, 105, and 107 sharpens the dissonance at these points. Throughout measures 104—118 alternation between the two instruments is gradually quickened, in order to build tension toward the climax. At measure 119 the simultaneous sounding of the two instruments emphasizes the return of the ostinato. Melodic-rhythmic repetition (slightly varied) is found in the clarinet part, measures 79—80 and measures 85-86. Repetition of chords and the new ostinato completely occupy the piano part from measures 77—98. The ostinato begun in measure 81 appears in retrograde in measure 87. In the clarinet part, measure 93 and the first half of 94 mirror measures 89—90, and act as a rhythmic sequence. Measures 105-117 feature repeated notes, rhythmic repetition, and imitation as the two parts are presented in close alternation. Melodic repetition does not occur until the ostinato reappears in measure 119. Density of texture is greatest (six to seven notes) in the extremely dissonant measures 42—46. The texture of Section I is predominantly three-part. In Section II a five-part texture thins out to three parts, and then to 66 one part. The texture of Section III is inconsistent, with chords of four to six notes alternating with monophony in either piano or clarinet part. Tonality and Dissonance A somewhat classical approach to tonality is found in the third movement. In Section I G sharp is established as a tonal center, giving way to its dominant, D sharp. In Section II the tonality moves from the dominant back to G sharp. Section III digresses to the dominant but re— establishes G sharp as the tonal center in the final measures. The ostinato pattern that opens this movement emphasizes G sharp by using the axle technique (A and F sharp approaching G sharp from above and below), and by following the G sharp with its dominant, D sharp. Bergman also stacks the four ostinato notes vertically in two pairs against the opening notes of the row in such a way that a G sharp minor triad appears (measures 3 and 5). G sharp is further emphasized by its recurrence in rhythmically prominent places (e.g., measures 9-13). The note G sharp is avoided as a tonal center throughout measures 23—38. In new prominence are the notes D sharp and A sharp, outlining the dominant. In the introductory measures (38-46) to Section II there is a gradual shift from the dominant area of D sharp back to 67 an emphasis on G sharp. On the second beats of both measures 38 and 39 the chord D sharp, A sharp, C sharp, and E might be thought of as a D sharp ninth chord without a third. On the second half of measure 40 appears a chord composed of the ostinato notes A, F sharp, G sharp, D sharp; this foreshadows the ostinato return in measures 42 and 43. In the following arpeggiated chords (measures 47—72) the ostinato notes may be rearranged, but the notes G sharp and D sharp always occur side by side. Section III opens with a VB dissonance, followed by re-confirmation of the G sharp tonal center. The new piano ostinato (measures 81ff.) momentarily obscures the tonal center, but following the retrograde of this ostinato, the piano ends on B (measure 89); this note supplies the third for the G sharp minor triad which is completed by the clarinet entry (D sharp, G sharp) immediately following. A series of harshly dissonant repeated chords in measures 91-93 places A sharp in prominence as the top note of the climaxing chord of the phrase. The clarinet con— tinues to emphasize A sharp, in combination with D sharp, thus outlining the dominant. The attention focused on these two notes paves the xay for the return of G sharp as a tonal center in measure 119. In measure 119 G sharp and D sharp of the piano ostinato (already foreshadowed by the ostinato 68 chordll in measure 112) join with the B sharp of the clarinet to form a G sharp major chord. From measure 120 to the end of this movement the piano toys with the ostinato by note deletion, rearrangement, and rhythmic displacement. This leads to punctuation of G sharp, tripled at the octave in measure 127 and quadrupled at the octave in the final measure. Throughout the first half of Section I there is a tendency toward consonance; VH dissonance occurs only once. The measures announcing the second part of Section I (meas- ures 23-25) are made bold with rapid alternation between doubled octaves, extreme dissonance, and mild consonance, as well as changes in tempo, texture, dynamics, and range. For the remainder of this section vertical sonorities reach only mild dissonance at most. This allows the D sharp (dominant) to be more perceptible aurally as a tonal center in this area. Nine measures of S to VH dissonance form a tran— sition to Section II. The VH dissonance on the downbeat of measure 42 introduces and supports (for four measures) the clarinet entry on beat two. The harshly dissonant and harmonically static ostinato piano chords beginning the andante create tension. As the clarinet part becomes more llOther transpositions of the ostinato chord, occurring in measures 105, 107, and 114-116, help to unify this area. 69 animated and the dynamic level increases, the piano reduces its dissonance by thinning its texture and allowing these elements to take over the responsibility of developing the tension. In measure 73 the tumultuous piano ostinato takes over where the clarinet leaves off; this leads to H disso- nance on the tonally—centered G sharp trill which is doubled at the minor ninth. A repeated chord of VH dissonance sets off Section III. Between measures 78 and 90 monophonic texture prevails, after which H dissonance returns along with the chordal texture (measure 91). In measures 99-101 fortissimo octave triplings in the piano part create tension without obscuring the counterpoint (against the clarinet syncopation) as would happen if dissonance had been resorted to. H and VH disso- nance monopolize the chordal textures in measures 103~ll6. Not only does this dissonance build tension, but it also blurs the tonality, acting as a foil for the re—emergence of the G sharp tonal center in the final measures. Rhythm Throughout the third movement rhythms are straight- forward, and all divisions and subdivisions of the beat are regular. These factors contribute to the persistent rhyth- mic quality pervading this movement. Each of the three main sections is set apart by its own characteristic meters and rhythms. 70 In Section I flowing groups of eighth notes and triplets predominate within shifting meters of 2 and 3, 4 these passages being occasionally interrupted by the rhythms r3n I-Jfi r3 J‘J (e.g., measure 18) or 77)) } (e.g., measure 23). Beginning with measure 30, small note values, dotted rhythms, trills, and poco stringendo create a rhythmic drive to the climaxing final note of this section. The poco adagio introduction to Section II (measures 3 8 a written—out ritard preceding the clarinet entry of the 2 4 meter until the climax is reached on the trill in measure 38-46) is in 3, except for the bar, which is essentially following measure. Section II never deviates from the 76. Progressive rhythmic animation is accomplished by the use of smaller note values and accelerando. In measures 73—75 the four-note ostinato, fitted into a triplet pattern, creates a hemiola. Example 27. Three Fantasias, third movement, mm. 73—75. tunudtuoso e 71 The first half of Section III is entirely in 2. Rhythmic tension results from persistent repeated chords fitted into triplet rhythms, well—defined rhythms, heavy accents, and syncopation. The last half of Section III is characterized by continual rapid movement, 2232 stringendo, quickly shifting meters (including 2, i, i, g, and g), and finally trills and syncopation, climaxing on the consecutive strong beats of the last measure. Ranges and Dynamics The overall shape of this movement is enhanced by the choice of range and dynamics. Throughout most of Section I the clarinet is confined within a range of little more than two octaves (written b#-eb3) until the final two measures extend the range downward to written e#. In Section II the very narrow, medium range expands to three octaves (f#-f#3) by the final sweeping statement. In Section III the clarinet progresses from the medium range up to written gb3 by measure 94, then descends to the low register by measure 99; this rounds off the first half of Section III and helps to delay the final climax. In the last half of Section III the clarinet quickly climbs from medium high to high register, where it remains until the final dip to the low register dramatizes its final high register fortissimo entry. 72 Throughout this movement the piano part stays out of its extreme upper register but occasionally makes use of its extreme lower register. The highest note in this move- ment, c#“, occurs in Section I at the height of the piano fanfare (measure 25). The sudden change to a lower register (both hands) at the beginning of the 2229 adagio is appropriate to the change of mood at this point. The andante opens with both hands above middle C; the resulting chord is sustained above the following two clarinet entries. In the following measures the piano part drops below the clarinet part; by measure 71 over three octaves separate the clarinet and piano, creating great tension. In the first half of the third section (measures 77-101) the medium range piano part follows the rise and fall of the clarinet part, until the low register fortifications at the tripled octave (measures 99~101) take the piano down to B2, its lowest note in this movement. In the last half of Section III the piano again follows the clarinet part, returning to the lowest register only in the final measures. In Section I dynamics move from plane (supporting the static quality) to Egrtg (supporting agitation). Re— duced dynamics initiating Section II help to set the quieter mood. Statements progressing toward the climax take on increases in dynamic level. The last clarinet entry ends 73 forte; the continuing piano part brings this section to a fortissimo close. Throughout most of Section III the dynamic level remains at or above the forte level, with the movement climaxing fortissimo. CHAPTER III PENTTI RAITIO'S ELEGIA SOOLOKLARINETILLE The Composer Pentti Raitio1 (b. 1930) was an elementary school teacher during his early career years. After spending some of his leisure time writing music (without previous formal training), he decided to return to school to study compo— sition. In 1966 he finished his compositional study at the Sibelius Academy, and decided to pursue a career in professional music. Presently, Mr. Raitio is director of the Music School in Hyvinkaa. He explains that he is a "composer—type" pianist; piano is his only instrument. While at the Sibelius Academy, Raitio studied with Erik Bergman. Although Raitio liked and appreciated him as a teacher, he sometimes found it difficult to confine his own emotionaleintuitive tendencies to the discipline which Bergman prescribed. Raitio's compositions dating from 1957 to 1974 are predominantly vocal solos with varying instrumental 1Pentti Raitio is not related to another well—known Finnish composer, Vaino Raitio. 74 75 accompaniments and works for male chorus. Kuun tieta . . (Along the Moon's Road) from 1965 is a group of three songs for soprano which, in its chamber ensemble accompaniment, includes clarinet (bass clarinet), flute (piccolo), viola, cello, and percussion. Chamber music, unaccompanied instru- mental solos, and orchestral music complete Raitio's list of compositions. Elegia Sooloklarinetille General Observations Elegia sooloklarinetille (Elegy for Solo Clarinet) was completed by Raitio in 1966, toward the end of his composition study. Elegia combines emotionalism with a disciplined approach. The composer wrote this music while feeling depressed; the outcome, he believes, reflects these feelings. Raitio's choice of the clarinet as his medium was based on his fondness for this instrument, as well as on his belief that the clarinet was idiomatically suited to expressing the emotional content of the work. The music fits into a comfortable finger technique for clarinet, covers the entire practical range, and uses a broad dynamic range and nuances which are easily negotiated on this instrument. The phrasing shows consideration for the breathing needs of the player. ExcePt for occasional trills, no special effects are included in this piece. 76 Elegia was first performed by Tapio Lotjonen in. 1966, and a tape is on file at the studio of Radio Helsinki. Although it is well-known by all the professional clarinet— ists in Finland, and is well-liked by even the most critical of these, this work has not been published. However, xeroxed manuscript copies are available through the Music Information Center in Helsinki. The con duolo spirit of Elegia is realized through the use of a slow tempo ( J = 56), rhythmic freedom, legato articulation, quiet dynamics, atonality, and a melodic line which favors the interval of a second and its octave dis- placements. Consecutive seconds often occur within the framework of the minor third; thus they form a tone cell which is an important unifying factor in this work. Raitio explains that he felt ambivalent toward the minor third; it made him feel both aggressive and depressive at once, yet it was a feeling he seemed to enjoy. The ele— ment of aggression is evident in this work in the use of rapid, well—defined or motoric rhythms, strong melodic intervals, marcato articulation, extreme upper range, tonal centeredness, and strong dynamics. By controlling the elements of tension (aggression) and relaxation (depression), the composer constructs a five-section form. 77 Section I Section II Section III mm. 1—13 mm. 14-24 mm. 25-34 Section IV Section V | mm. 35—47 mm. 48-61 The major climax of this piece comes in the middle of Section II. Secondary climaxes occur in the middle of Section III and the middle of Section IV. Melody From beginning to end the melody of Elegia is derived freely but exclusively from a row of twelve tones, which are presented in the matrix on page 78. The music is not twelve—tone in the usual serial Sense; only once does the row appear complete (measures 26‘27)7 two other occurrences are complete except for the tone F (number 3 of the row); elsewhere only two to nine notes of the row (occasionally transposed) occur in sequence. A Spiral technique is frequently used in presenting the row; an occurrence of the row often begins somewhere in the middle of the row and doubles back to the beginning (thus the numbering of the row is somewhat arbitrary). 78 Matrix for Raitio's Elegia sooloklarinetille 12 11 1o 9 7 1 e 5 4 3 2 1 l Db C F B A Bb D G# D# E F# G 12 2 D Db Gb C Bb B Eb A E F G Ab 11 3 A Ab Db G F F# Bb E B C D Eb 10 4 Eb D G Db B C E Bb F Gb Ab A 9 5 F E A Eb Db D F# C G Ab Bb B 8 6 E Eb Ab D C Db F B F# G A B17 7 7 C B E Bb Ab A Db G D Eb F Gb 6 8 F# F Bb E D Eb G Db Ab A B C 5 9 B Bb Eb A G Ab C Gb Db D E F 4 10 Bb A D Ab Gb G B F C Db Eb E 3 ll Ab G C Gb E F A Eb Bb B Db D 2 12 G Gb 8 F Eb E Ab D A B!” C Db l 1 2 3 4 5 6 7 8 9 10 11 12 RI 0 = original R = retrograde R1 = retrograde—inversion inversion 79 Several melodic features common to the traditional serial style of composition are present,however: avoidance of the same pitch classification in close succession, octave displacement of pitch classification, disguising the row by beginning phrases on different numbers, and returning note groups, as well as transpositions, segmentation, and manipulation of the row. The most prominent unifying device is the returning whole—half step tone cell derived from numbers 10—12 (E,F#,G) of the row. This tone cell and its variants are as follows: Whole—half step tone Filled—in tone cell Retrograde-inversion cell on E (half—whole step ascending)2 A REtrograde (half—whole Inversion (whole—half Permutation Step descending) step descending) Transpositions of the original cell and its variants are also frequent. 2Numbers 9-11 of the row thus form a variant of the cell. 80 The minor second occurs four times in the tone row. Its importance is evident not only in the basic cell but also in the use of chromaticism which involves up to nine ascending pitch classifications, but a maximum of two descending pitch classifications. Upward chromaticism of four notes is the same as the filled-in version of the basic cell. Therefore, chromaticism exceeding four notes may be regarded as an extension of this. Such chromaticism is found in measures 3-4, 7—9, 18-19, 32, and 42. The next most prominent interval in the series is the tritone, which occurs three times. For the most part, the tritone merely assumes its place wherever it occurs in the row, including some ostinato points (e.g., measures l6-l7, 27, and 54—61). After the broad restatement of the principal tone cell (measure 48), the tritone F-B replaces it as the concluding tone cell. Except for two minor third connections (measures lO—ll, G—B flat and measures 47—48, C sharp—E), the entire PitCh progression of Elegia consists of the following: 1. full or partial statements of the twelve—tone row 2. transpositions of (l) variant of numbers 1-10 of . , ani ulated - 3 a segmented m P d as a repeated melodic the tone row, which is use pattern in Sections III and IV 4- whole—half step tone cell (numbers 10—12 of the row) 5. variations of (4) 81 6. chromaticism, which is essentially an extension of the filled—in cell (4) and its transposition 7. tritone cell (numbers 3—4 of the row). These patterns frequently overlap or occur simultaneously. For example, in measure 33 (on the second half of beat two) the jagged melodic line ending a statement of the new melodic pattern spells out numbers 9—11 of O,lZ—G in the lower notes of the line. Immediately after the conclusion of the statement of the new melodic pattern, O,lZ—G continues with numbers 12,1-7. Example 28. Elegia, mm. 33-34. O,lZ—G (:5 3f 11 12 234567 Thirteen different versions of the row are employed in this work. The original form of the row (O,l—Db) is most prevalent, and it is the only one used for complete statements of the row. The two occurrences of tritone transpositions (O,lZ—G) are complete except for one tone each (measure 33——second half of beat four—-through meas— ure 34, and measure 38). Other transpositions of partial statements of the original row include all the possibilities 82 except O,lOfli. The remaining two versions of the row are also incomplete: I,8-G#, which occurs twice, and R,5-B, which occurs only once. m The overall five-section form of this piece can be discerned as a process of growth and decay of the twelve- tone row. This evolution can be seen by sections as follows. Section I. Original and varied forms of the whole— half step cell are used almost exclusively throughout this section, with occasional foreshadowing of the head of the twelve—tone row and the tritone cell. Section II. The head three or four notes of the row alternate with the whole-half step cell until both cells are welded into a full statement of the row (omitting number 3,F) in measure 20 (beat two) through measure 24. From the second half of measure 15 through measure 19, returning note groups emphasize the head of the row (C sharp-C, F-B, A—B flat), which had been generally avoided in Section I. Section III. Measures 25—32 contain full statements ‘of the original row and a few of its transpositions (O,6—E and O,l2-G). Manipulation of row segments (numbers l—6 and 7-10) begins in measures 33-34, forming a new tone pattern: G#D(OrD#)EFBDbCABBbC. 83 Section IV. Measures 35-38 continue the new tone pattern (by manipulation of row) with overlapping in measure 38 of a statement of O,lZ-G (numbers lO—12, l-8). Measures 39—42 bring back the tone cell and its variants, overlapped by the full statement (numbers 7-12, 2-7, omitting 8-G#) of O,l—Db. Section V. An unaltered and undisguised restatement of the whole—half step cell opens this section and leads into the head of the row (O,l-Db, numbers 10-12, followed by l-6). From measure 53 to the end, the F—B tritone cell (numbers 3 and 4 of the row) takes over, establishing a returning-noteogroup ostinato (with numbers 2,C and 6,A# of the row serving as upper and lower neighboring tones). In summary, then, the form evolves as a process of (l) gradual integration of parts of the row, (2) presenta— tion of full statements of the row, (3) development of the row by transposition and manipulation, (4) restatement of the row, and (5) disintegration of the row. Other factors contributing to the sense of form in this work include interval strength, tonal-centeredness, melodic range, dynamics, and rhythmic character and animation. 84 Tonality Tonal-centeredness on E is established in this piece primarily through the recurrence of the original whole-half step cell (E,F#,G). This untransposed version usually occurs in prominent places: Measure 1 --opens composition Measure 10, beat two-—reinforces measure 1 by use of similar octave displacement Measure 12, second half of beat three-—concludes first section of piece Measure 15——opens measure Measure 23, beat three--concludes second section Measure 26--opens measure Measure 27, last three notes——concludes announcing half of phrase Measure 29, heat two—-concludes responsive half of phrase Measure 42——concludes phrase Measure 48—-opens measure. Number 9,Eb (D#) of the original row functions as leading tone when it is followed by number lO,E of the ow (e.g., measures 25—26, 32, 34, and 39). Out of 21 accurrences of E, only six are not preceded by Eb (D#). Other places (not included above) where E is brought Lnto prominence include measure 12, beat three, where E )ccurs as the highest note in Section I; measure 20, where 2‘ . is the first note of the measure; measure 28, where it is 85 epeated; and measure 37, where it is the last note of .he phrase. The note E is strongest as a tonal center in the 'irst half of this piece, where the E,F#,G cell is featured .nd subsequently joined to the rest of the twelve-tone row. 5 the row disintegrates in the last section, giving way :0 the F-B tritone cell, the E tonality is abandoned. his Although the unit beat (J = 56) remains the same :hroughout, meter changes are frequent (Z, i, i, and i). :onsiderable rhythmic freedom is also achieved through tempo rubato, ritards, and stringendi, as well as de—emphasis of :he barline and the beat by means of shifting divisions of :he measure, shifting divisions and subdivisions of the )eat, familiar rhythmic patterns recurring on different >eats or parts of the beat, and notes tied over the barline. The following measures illustrate how shifting divisions of :he beat and tied notes create a written-out ritard: Example 29. Elegia, mm. 4-6. 1‘ Am sprig" ' 7r- 86 Rhythmic unity is established through recurring tterns, augmentation and diminution, as well as non— trogradable (palindrome) rhythms. Two aggressive, straightforward rhythmic patterns some established by recurrence. One of these is a double— tted rhythm, which first appears in measure 1 and is peated in the following measure. Example 30. Elegia, mm. 1—2. is rhythm recurs fully in measure 39 and incompletely in asure 53. In diminished form the rhythm appears as JIE‘} measures 22 and 29, and in slightly altered form, as E! in measure 42. Quasi-:pgmentation of the figure nears in the forms of J‘LDJdlin measures 23—24 and jJJfilln measure 48. A single—dotted variant appears JvJ-JQJ) in measures 45—47, diminished as DJ. in measure andjugmented as JJJJ in measures 36—37. The second principal recurring rhythmic pattern is it of two consecutive triplets, which is first presented measure 6. 87 Example 31. Elegia, m. 6. ‘\.______.a’// 3 3 .is pattern occur? in diminution as Iii f3? in measure 14 d extended as J33 J33 in measures 7—8. Rhythmically— splaced, irregular diminution occurs in the form of a f??? in measure 26 and J? I??? in measures 27 and -33. In some variants the second triplet is irregularly minished by changing the subdivision ofathe beat. Such riants are found in measures 10—11 as J3] Jfiffia I in 1 asu’res 19' 20, and 28 as m % , and in measures 33-34 .57 5777 Variation by irregular diminution of both triplets pears as J33? J3??? in measure 11 and as a motoric figure extended thirty—second notes (fi/L” ) in measures 14 d 38. Occasionally more extended rhythmic patterns are esented in close succession. The following groups lustrate these. 88 m..-7.fijfijn) m. 26.155557 .. 535’s )1. m. J. 555% (diminution) (augmentation) W. 40-41. Jan J J: mm. 35-36 {1.63 1m. 41—42. I” m I m- 36- Lfi (repetition, varied) (irregular diminution) mm. 36—37.J JJJ (irregular augmentation) Non—retrogradable rhythms also help establish rhythmic unity in this work. Example 33. Elegia: m. 19-20. J. fl)? J; E h E, IN“- 43745 LJ .LJ‘J m. 29. ($11-31)va 5; mm. 46-47. I] J. n 89 Rhythm and melody, the primary building blocks of form in this music, cooperate throughout this work in expressing the depressive—aggressive ambivalence through patterns of tension and relaxation. Rhythmic qualities which contribute to tension are: rapid, straightforward, motoric, and dotted rhythms, small note values, and repeated rhythmic patterns. Rhythmic qualities which contribute to relaxation are: slow tempo, tied notes, vague rhythms, and large note values. Summary Section I is characterized by the tendency for each phrase to begin with considerable aggression which is dissipated toward the end of the phrase. In the opening phrase, straightforward, animated, dotted rhythms give way to less—defined rhythms and large rhythmic values. Dynamics likewise move from sforzando to mezzo—forte, along with a general downward tendency in the melodic line and diminishing interval strength. The above-mentioned phrase characteristics are maintained right up to the major climax (second phrase of Section II). This climax is achieved primarily through rhythmic and melodic tension, reinforced by dynamic strength. Rhythmic tension is created in this phrase through straight— forward rhythms which grow in animation toward the final note of the phrase. Melodic tension results from the 90 increase in interval strength and general movement from medium to high register. The climax arrives fortissimo on a3 (the highest note in this music) following a crescendo. Noteworthy, too, is the fact that the first full statement of the twelve-tone row begins in the middle of this same climaxing phrase. Rhythmic, melodic, and dynamic intensity slacken considerably after the major climax until the build—up begins for the secondary climax in Section III. The climax occurring in Section III (at the end of the first phrase) is built primarily through rhythmic and dynamic tension. Rhythmic strength is achieved through pig mggsg tempo, and movement toward more straightforward and more animated rhythm. Dynamics move from mezzo-piano at the beginning of the phrase to fortissimo at the end. Interval strength is less than in the phrase leading to the major climax, and the clarinet range is lower, with the climaxing note of the phrase being an octave lower than in the previous climax. Here the climactic phrase carries a full statement of O,l—Db and initiates the next full statement. The level of intensity remains quite high during the remainder of Section III and the beginning phrase of Section IV, due to a predominance of straightforward rhythms and moderate animation. The dynamic level and interval strength vary and a large melodic range is covered. 91 The build—up to the climax of Section IV (at the end of the second phrase) is accomplished by straightforward, motoric rhythms, crescendo, strong intervals, and a gradual climb from the low register (f) to the high register (a3), before the sudden dramatic drop to the climaxing sforzando g#. Throughout the remainder of Section IV, straight- forward, moderate rhythms prevail, interval strength varies, and ranges are moderate; a quiet dynamic level is maintained. Aggression is considerably dissolved by Section V. Following the broad restatement of the "E,F#,G" cell and partial statement of O,l-Db, tonal-centeredness on E is abandoned, the dynamic and melodic ranges remain low, intervals are weak, and rhythms become increasingly vague and slow—moving. CHAPTER IV AARRE MERIKANTO'S KONZERT FER VIOLINE, KLARINETTE, HORN UND STREICHSEXTETT, SECOND MOVEMENT The Composer Aarre Merikanto (1893—1958) was the son of Oskar Merikanto, an opera director of distinction and composer of the first Finnish opera, Pohjan Neiti. After many years of piano lessons and much exposure to music in his home, Aarre left secondary school in the spring of 1912, one year early, to begin composition study with Erkki Melartin at the Helsinki Institute of Music.1 At the end of only one term Merikanto had composed a one—act opera with piano accompaniment, which attracted attention because of its unconventionality. Many years later, referring to the score (since destroyed), Merikanto said, "My opera was, stylistically, practically atonal. Where I had adopted lHelsinki Institute of Music was renamed Helsinki Conservatory in 1924. The name was changed to Sibelius Academy in 1939. 92 93 that radical viewpoint, I cannot explain. At least, I had never heard such views elsewhere."2 In the fall of 1912 Merikanto went to Leipzig for two years of study with Max Reger, who regarded him as an especially gifted student. In 1915—16 he studied in Moscow with Sergei Vassilenko. From 1936 to 1951 Merikanto taught theory at the Helsinki Conservatory and from 1951 to 1958 he was professor of composition there. During the last twenty years of his life he also taught a correspondence course in music theory for the Folk Education Association. The rest of his years he free—lanced as composer, conductor, and pianist- accompanist throughout Finland. Merikanto's extensive list of compositions numbering nearly 200 includes an opera, chamber music, instrumental concertos, and works for chorus, orchestra, chorus and orchestra, and solo voice. During the years 1914—1919 three concerts of Merikanto's music were presented in Helsinki. It was not until 1957—58, however, when the Finnish Radio chose Merikanto as composer of the year, that many of his compositions received their first performances. Almost without exception, these belated premieres have proved themselves as landmarks in Finnish musical literature. 2Timo Teerisuo, Aarre Merikannon Ooppera Juha (Helsinki: Vammalan Kirjapaino 0y, 1970), summary in English translated by Peter Jones, p. 232. Of special interest is Merikanto's so—called radical period of the 1920's. Maasalo summarizes as follows: This period is dominated by a harmonious language which has a wide scale. Its foundation was on the one hand the Wagnerian leading-tone chromaticism which was continued in Schoenberg's and Berg‘s early works, and on the other hand in Reger's complementary harmony which is without a leading tone and which uses nonfunctional harmony. This duality of harmony finds its synthesis in Merikanto's atonalism, nonfunctional harmony. . . . Impressionism has left its clear manner of expression in Merikanto's style. Polytonality is a common factor throughout all his periods. Richness and abundance characterize the theme structure,which varies between intensive tonal melody with long lines and a theme which often lasts for only a couple of intervals and is shaped in a very free way atonally. The main intervals are half step, third, seventh, and fourth. The last—mentioned will sometimes be found in a suc— cession of fourths. Rhythm and meter are free from Romantic limitations and the different tempos move along easily. Merikanto's music would only with difficulty fit into a procrustean form; rather it shapes itself into forms deter— mined by the content. Dynamics breathe freely and the use of orchestra and all instruments grows into an unexpected richness——on the one hand extravagant use of color and on the other the individual characteristics of a chamber ensemble.3 The outstanding works of this period are the three—act opera Juha (1922) and the Konzert fur Violine,Klarinette Horn und Streichsextett (1925). When the entire opera Juha was broad- cast as a premiere in 1958 under the direction of Nils—Eric Fougstedt, critics immediately realized its genius, both 3Kai Maasalo, Suomalaisia Savellyksia, Vol. II: Melartinista Kilpiseen (Helsinki: Werner Sederstrom Osakeyhtio, 196973 pp. 212—213, translated by Maija Kaldjian and Marcia Anderson. dramatically and musically. The first stage premiere was presented in Lahti in 1963. In 1967 the Finnish National Opera added QEEE to its repertoire. Subsequent performances at the Savonlinna Opera Festivals of 1970-71 and the Helsinki Festival of 1972 were well received and led to the production of a recording released in 1972. In 1925 Merikanto's Konzert EEE Violine, Klarinette, ngp Eng Streichsextett won an award in an international contest sponsored by B. Schott's Sohne in Germany.“ The "Schott Concerto," as it was nicknamed, was premiered at the Donaueschingen Music Festival under the direction of Hermann Scherchen in the summer of 1925. Members of the Finnish Radio Orchestra gave the first performance in Finland in 1932; the conductor was Toivo Haapanen, and the soloists were Erik Cronvall, violin; Martti Rajula, clarinet; and Pekka Sergin, French horn. This composition should be classified as chamber music, since Merikanto has designated single players for each secondary string instrument (two violins, two Violas, and two cellos). The work is in three thematically related movements: a rondo, a sonata—allegro form, and a free form. ”The first prize of 6,000 German marks was divided among five equally deserving contestants. The other award winners were Paul Dessau, Ernst Toch, Alexander Téerepnin, and Hermann Wunsch. Paul Hindemith was one of the judges. % The clarinet is given important parts in all of derikanto's orchestral works and is included in two chamber orks besides the "Schott Concerto." Nonetto for flute, nglish horn, clarinet, string quintet, and piano was com- leted in 1926. Embittered because it remained unperformed, Merikanto destroyed the score. After the composer's death the score was reconstructed from the instrumental parts. It received its first performance on Radio Helsinki in 1960. His Partita for harp and woodwinds (1936) was premiered in Helsinki and later performed in the Scandinavian Music Festival in Gothenburg, Sweden in 1939. Tape recordings of the "Schott Concerto" and Nonetto are on file at the studio of Radio Helsinki. Those interested in performing the "Schott Concerto" or Nonetto should write to the Music Information Center in Helsinki5 concerning the availability of score and parts. The Music Information Center will advise if a loan can be arranged through Radio Helsinki. The "Schott Concerto" (published in 1925) is no longer available through the publisher. 5See page 3 for address. 97 Konzert fur Violine, Klarinette, Horn und Streichsextett, Second Movement General Character The second movement of Aarre Merikanto's Konzert ffir Violine, Klarinette, Hggg Egg Streichsextett (Concerto for Violin, Clarinet, Horn, and String Sextet) begins with a meditative, improvisatory Largg—Adagio introduction. A sizeable Vivace follows, which is concluded by a brief return to the last eleven measures of the introduction. Tempo changes are frequent throughout this movement, extremes being Largo (J== 42) and ViVace ( 3.: 100). The entire movement is based on continuous evolu- tionary treatment of major and minor seconds, the fourth, and the tritone, which are presented in the introduction; this intervalic material is developed vertically as well as horizontally. A wedge motive, triple meter, and a rhythmic motive J.J2J of the Vivace also serve as significant unify- ing devices. The Vivace is characterized by simple folk- like melodies which play against a background of atonality and polytonality. Precise notation demonstrates Merikanto's attention to detail. Dynamics range between pianissississimo and fortissimo. The movement begins and ends at a low dynamic level, and most of the principal themes are introduced piggg or pianissimo. Louder dynamics are generally reserved for 98 the two most aggressive themes and for the areas of transition or development. £9515 This movement bears close relationship to the sonata-allegro form because of the way in which thematic material is presented and developed. However, Merikanto's free use of all tones precludes the use of functional har— mony and key relationships associated with sonata-allegro form. Instead, certain tones tend to assert themselves at significant structural points; for purposes of this discus- sion, these will be referred to as tonal centers. For the most part, the tonal centers used in this movement fit into the same pattern that would be used in a tonal work using sonata—allegro form. The form evolves by means of organic variation; themes greatly resemble one another; and the continuous development of material tends to transcend clearly—defined structural boundaries. LARGO VIVACE Introduction Exposition . s—— s mm. 1—58 mm. 1-142 Development Recapitulation Coda mm. 143—232 mm. 233-280 mm. 281-3 2 99 Introduction: Measures 1—58 Section I: Measures 1-9. The impressionistic Largo opens with the three violins forming an undulating ostinato in parallel fourths (G-C—F). While emphasizing the major second, the ostinato figure introduces the melodic wedge motive ( JEJ.P ),6 which settles into countless variations throughout the movement. Against the ostinato pedal of the violins, the clarinet enters in the second measure with a stepwise lugubre solo which forms a returning-note pattern on B, and adds an augmented fourth to the chord comprised of fourths. In measure 7 the wedge extends a half step upward by note addition, thus joining with the contour of the lugubre horn solo; this time the vertical fourths occur in pairs (B flat-E flat and D-G). Section II: Measures 10—23. In this section Merikanto emphasizes the tritone horizontally in measures 10—15 as well as vertically in every measure. In measures 11 and 12 the tritone occurs as an expanded wedge motive. Throughout Section II seconds are presented chromatically: measures 13 and 14 each use up all the tones of the chro- matic scale; the horn solo (measures 15-19) is a chromatic wedge, ending with a surprising downward jump from written a2 to g sharpl; and the concluding violin solo begins and ends chromatically. . 6This motive in its original and varied forms is identified by its triangular diversion from, and return to, the starting note. I7—_‘ 100 Section III: Measures 24-34. The clarinet has a stepwise solo which retains B as the returning note; digres- sion to a fourth below and to a fifth above forms lower and upper wedge figures. The solo violin presents an extended sequence of the wedge motive in thirds,while the lower parts tend to move by seconds and fourths. The resulting harmony contains an abundance of tritones. Section IV: Measures 35-47. Above the D—A—E (chord—by-fifths) pedal there occurs the wedge motive double-stopped in tritones on E flat and B flat. This is followed by two streams of filled-in melodic extensions of the wedge motive moving in contrary motion. This section concludes with a joint wedge statement of the lowest instru— ments (measure 42), followed by the clarinet wedge solo over a pedal thirteenth chord whose split third and fifth create four tritones. In measure 46 the solo violin emerges with an unaccompanied wedge variant solo in which the notes B and A form a dominant axle (fourth above and below) around the note E, which is the tonal focus for the continuing violin solo. Section V: Measures 48-58. Above a seventh chord built on the note D,which provides a harmonic pedal, E per— sists as tonal center for the violin solo, which still toys With the wedge idea. This solo is set apart from all Previous solos in the introduction by its use of wider 101 intervals, which include the third and fifth. Split harmonic intervals bring the tritone into prominence and obscure any sense of tonal center in the final measures of the introduction. Exposition: Measures 1—142, beginning at Vivace7 First subject: Measures 1-40. The first subject area of the exposition is introduced at the Vivace by a glissando anacrusis, progressing by parallel seconds in the violins and Violas. Theme 1 appears at measure 2. A rhythmic motive J. J5J is introduced and the violin and subsequent clarinet solo emphasize seconds and fourths. Example 34. Konzert fur Violine, Klarinette, Horn und Streichsextett, second movement, mm. 2-9. 7Unless indicated otherwise, all further measure lumbers in this chapter will refer to measures from the Exposition onward. 102 The G9 (split 7) chord underlying measure 2 suggests G as the tonal reference for Subject I. The opening notes of measures 6—9 simultaneously outline a different chord in each separate instrumental part; the second viola spells out a chord by fourths (G sharp-C sharp—F sharp» and the other parts outline tertial chords which are seconds apart (E flat, F, F sharp, and G). The flutter-tongued clarinet anacrusis at measure 9 initiates the linking passage (measures 10—21), which leads to the second theme of the first subject. In measures 15—20 there occurs a two-measure sequential pattern based on the rhythm J.JU JijJj, which is reminiscent of V‘oa 1(1).8 At the M329 mossg (measure 22) Merikanto introduces Theme 2, I(2), which consists of an eight-measure grazioso horn solo made up of two wedges expanded to the interval of a fourth and characterized by the opening rhythm J- )J ° Example 35. Konzert fur Violine, Klarinette, Horn und Streichsextett, second movement, mm. 22-29. Cor. 111 F H, ififi—r‘r grauuau the ic theme within that area. 8The Roman numeral indicates the subject area; Arabic numeral indicates the spec1f 103 Seconds, fourths, and tritones, as well as further variation of the wedge motive, figure prominently in the second theme area also. The a tempo at measure 30 initiates the marcato Theme 3, 1(3), in the solo violin part. This theme is characterized by exclusive treatment of the fourth and tritone, which simultaneously appear horizontally and vertically. Example 36. Konzert fur Violine, Klarinette, Horn und Streichsextett, second movement, mm. 30—33. V]. solo Transition: Measures 35-75. The transition consists of further development and recombination of old material, and brief returns (in reverse order) of the three themes of Subject I. The transition begins with a zigzag— ging melodic line climbing by fourths, followed by a horn 5010 Of a descending displaced minor second, reminiscent 0f measures 17—18 of the introduction. Measures 41—50 are baSed on the wedge motive and the dotted rhythmic motive. 104 Seconds are treated chromatically, and chains of parallel chords descend by half steps. At measure 51 a variation of I(3) arrives in the clarinet part; this time the opening rhythm JHIJ outlines an ascending tritone and fourth (a retrograde—inversion of the descending fourth and tritone of measure 30).9 Detract— ing somewhat from this rendition of I(3) is the descending gypsy minor scale in 2 played fortissimo by the solo violin 4 and creating a hemiola with the clarinet part. In measures 55—58 the solo violin takes on the I(3) theme, below which the horn returns with a transposed ver- sion of the I(2) theme (relayed to the clarinet at measure 60). An abbreviated version of I(l) appears at measure 68; the solo violin and clarinet are in reverse order, but otherwise the statement is identical (for the first two measures) with its appearance at the beginning of the Vivace. Measures 70—71 are a minor third higher than measures 4—5, in order to accommodate the transition. The final four measures of the transition form a non—thematic link based on old material. The return to I(l) at the end of the transition allows for a reemphasis of the tonal reference G; this IS also forms a subtle 9 . . . Th retro rade-inver51on . . 15 9 ing of the first subject association with the reverse order themes. 105 brought about by using G as the returning note in the foreshadowing horn and clarinet solos of measures 64—67, by the return to the G9 (split 7) chord supporting 1(1), and by the G+7 chord initiating the link to Subject II. Second subject: Measures 76-96. The second subject is set off as a separate area by the tonal reference to C (the subdominant of Subject I). Simple static harmony of a pedal chord by fifths (C-G-D—A) supports the opening statement of the one theme assigned to Subject II. The eight-measure theme, which is presented in the solo violin, and the accompanying wedge motive ostinato played by the horn are both harmonically agreeable with the chord by fifths. With the exception of measure 82, tritones occur in the thematic statement only. The second subject theme is characterized by its grazioso folk—dance—like quality, which draws support from the open—string accompaniment; the theme represents further treatment of the wedge motive and rhythmic motive J.JnJ, and it is also reminiscent of the clarinet solos at the beginning of the gaggg- 106 Example 37. Konzert fur Violine, Klarinette, Horn und Streichsextett, second movement, mm. 76—84. A four—measure link (measures 84—87) prepares for the restatement of II(l) by the clarinet (measure 88); this time everything is transposed up a whole step so that the tonal reference is to the dominant area (D). Closing theme: Measures 96—108. The closing theme is reminiscent of I(l) both rhythmically and in the way the different instruments share in the pointillistic statement Of the theme in the first four measures. The wedge motive by half steps is emphasized, and displaced chromaticism occurs in its sequential treatment in measures 103—106. Fourths and tritones are also important thematically, and the closing theme ends with a parallel series of six descending fourths. 107 Example 38. Konzert fur Violine, Klarinette, Horn und Streichsextett, second movement, mm. 96- 108. During the thirteen measures of this theme, significant allusions are made to the following tonal areas: dominant D (D-A—E flat chord by fifths in measures 96—97), tonic G (G9 with split 7 and 3, at measure 100), and subdominant C (C7 with split 7 and 5, at measure 108). Codetta: Measures 109—140. In the codetta Merikanto takes the principal intervals of major and minor seconds, perfect fourth, and tritone and simultaneously develops them horizontally and vertically by condensing them into an intensive chromatic texture. A series of unresolved diSsonances evolved from the half—step wedge of the cloSing 108 theme obscures any sense of tonal reference. The exposition ends pianississimo on a dissonant polychord containing three tritones. Two measures of rest confirm the end of this section. Development: Measures 143-232 The opening fourteen measures of the development are based on the first two measures of I(2), interpolated by extra measures of previously—used material. Measures 157-160 form a link in which the wedge part of I(l) is superimposed over the dotted rhythmic motive. In measures 161-164 I(l) returns (condensed), transposed up a perfect fourth from measures 4—7; here the tonal reference is F. Measures 165-166 extend the statement, concluding with D as tonal reference. A twelve—measure link which recombines material from measures 72-73, continues to stress D as the tonal center. The second section of the development (measures 179—201) is unified by a G sharp-A sharp pedal in the Violas. Above this pedal the three violins and clarinet unite in a marcatissimo melodic ostinato of the wedge motive by thirds, establishing a separate ostinato. At measure 185 the horn enters ben marcato with its own ostinato, creating a rhyth- mic struggle against the other six parts. At measure 198 the last horn solo is rounded off by an extra measure: a 109 lrop from written f#2 to the displaced second (91), :eminiscent of measures 38-40. In measure 201 the :1arinet states the horn theme a tritone higher, forming 1n overlapping link to the transition. The transitional measures 202—215, which revisit [(3), are based on the transition of the exposition; they ire equivalent to measures 41—54 but here are transposed iown a minor third. A complete restatement of I(2), a ialf step below its original, returns in the horn part at neasure 216. The first four measures of the solo part are accompanied by a chromatic wedge countermelody in the :1arinet part; the following four measures are accompanied 3y parallel downward chromaticism in the secondary strings. \ nine—measure extension concludes the development section. [‘he clarinet rhythmic punctuation beginning with I 7).! Ln measure 229 forms a link which resolves into the :ecapitulation. ?ecapituZation: Measures 233—280 The first four measures of the recapitulation are similar to the opening of the exposition (measures 2-5); thematic material is identical and open fifths occur at the bottom of the vertical structures (G—D and C—G in the 391105); in this case, however, chords are built by fifths (G-D—A flat and C—G-D flat) rather than thirds (G9 with 3Plit 7 and C13) as in the exposition. Measures 237—268 110 are identical to measures 6-37 of the exposition and therefore include restatements of the three themes of Subject I and the first three measures of the original transition. Here the transition is reduced to seven measures and is formed by extending the climbing augmented seventh chords an extra four measures. At measure 273 II(1) returns, transposed a fifth higher to conform to the suggested tonic, G. In this abbreviated version, the superimposed solo violin and clarinet state the theme in parallel tenths above the static harmony of a chord by fifths (G-D-A—E). Coda: Measures 281—312 Merikanto opens the coda with a blatant cuivré horn solo on D, which is based on the first and last measures of I(2). Below the horn solo the secondary strings repeatedly state the second measure of I(2), and thus create an ostinato figure whose static harmony is based on a chord by fifths on D. At measure 296 (Andante 92p mgtg) following one measure of rest, occurs an unaccompanied abbreviated statement of II(l)in parallel fourths which suggests a tonal center of G; it is reminiscent of the opening measures of the movement and measures 35-36 of the introduction. At the end of the statement ofII(l) in measure 298, the horn enters on D with the head of I(2) in diminution. 111 Another rest sets off the final section of the coda, Ln eleven-measure Adagio which is nearly identical to the final section of the introduction. Measures 302-310 are :quivalent to measures 48—56 of the introduction, except :hat here everything is transposed down a whole step, the :1arinet replaces the solo violin in presenting the melody, 1nd the solo violin plays the part previously taken by the first viola. This time the melody is centered on D while :he supporting dissonant harmony is essentially a C7 chord Iith three split intervals. The notes D and C represent :he two dominants of the tonal reference of this movement. lelody Favored melodic intervals throughout are the major 1nd minor seconds (chromaticism, gypsy minor scales, whole— :one scales, wedge motive, appoggiaturas, displaced seconds), fourths (horn theme wedge, gypsy minor scale tetrachord, :onsecutive fourths), and tritone (opening clarinet solo, :hemes I(3) and II(1), wedge variation, closing theme, Links). The third is less prominent melodically than the seconds, fourths, or tritones. Its use is limited primarily to variations of the wedge motive (introduction: measures 24-33, 35-36; Vivace: measures 45-50, 145-146, and 180-194). The square rhythms, returning—note figures, and con— junctivity are characteristics suggestive of tonal melodies. 112 However, phrases are unpredictable in length and sometimes overlap throughout this movement, and the constantly modu- lating thematic material tends to be polytonal, polymodal, or chromatic. The violin solo of Section V of the intro— duction is based on a pentatonic scale containing no half steps. Theme II(1) uses the notes of the ascending melodic minor scale in the descending, as well as the ascending, parts of the melody. In this movement melody may be classified according to three types: long singing lines, folk—dance-like melo- dies, and aphoristic themes or motives which last for only a few intervals. The first category includes all of the main themes of the introduction except the wedge motive. The dance—like melodies include I(l),II(1), and the closing theme. Belonging to the last category are the wedge motive, I(2) and I(3). Sequential patterns frequent this music; they are found in original presentations of all the principal themes, they act as counterpoint to the main melodic material (e.g., measure 24 of the introduction), and they dominate all areas of transition. Rhythm Rhythmic simplicity pervades most of the movement. The entire Vivace is in 2 meter. More flexibility occurs in the introduction and coda, where occasional meters of 113 t and i are used. Repeated rhythmic values in the form 3f eighth notes, quarter notes, and dotted half notes are :ommon. The smallest note values in this movement are sixteenth notes (measures 51-54 and 212-215) , which, Jresented in duple meter against the already existing :riple meter, create a hemiola pattern. The rhythmic motive JJJ initiates all three :hemes of Subject I and also the closing theme. The theme 3f Subject II features a variant of the rhythm in its sec- )nd measure, DJ-J‘ .10 Other variants of this rhythm 'anlude diminution and augmentation, and the figure 2 7J\J . )otted rhythms also characterize the clarinet and horn solos "Ln Sections II—IV of the introduction. Another prominent rhythmic pattern is the figure IJJJJ), which first becomes aesociated with the wedge motive :hroughout the introduction. This pattern is noticeable 'Ln the themes I(l) , I(3), and II(1), and also occurs in . D11. (measures 24—25) , CIDJVW (measure 37 of introduction) and D Jump-3J7 (measures 84—85) . 3 iiminution and augmentation. Typical variants are EU} 1° This is also related to the second main rhythmic notive, DJ . 114 'onality and Vertical Structures In spite of his tonal abandonment and use of non- functional harmony, Merikanto has structured this movement Iith G in mind as a definite tonal reference. The intro- luction begins with a pedal chord built by fourths above :his note. In the fourth section of the introduction occurs another pedal chord built by fifths above the dominant (D), followed by the last section whose tertial D pedal chord resolves to a tertial chord on G in the final measures. The exposition opens with a G9 (split 7) chord supporting the principal theme: the areas of themes I(2) and I(3) move away from the tonal G reference, but the reverse presentation of the three themes in the transition brings G again into prominence with the return of I(l) (measure 68), thus keeping the tonal reference intact for the first subject area. When the solo violin enters with the first statement 3f II(1), the static harmony of an accompanying chord by fifths on C makes reference to the subdominant, but the subsequent clarinet statement shifts everything to the lominant. The closing theme area moves from the dominant (chord by fifths on D) to the subdominant (C7 with split .ntervals). In the development Merikanto presents all themes >f Subject I in new tonal surroundings, avoiding G as a zonal reference. 115 At the beginning of the recapitulation G returns as tonal reference, this time as the root of a chord by fifths (rather than by thirds as in the exposition), and when II(1) returns, its chord-by-fifths accompaniment is ouilt on G. The static harmony underlying the coda returns to the dominant with a chord by fifths on D. The concluding Adagio section pits the D-centered melody in the clarinet part against an ambiguous tertial chord on C, ending the movement on its two dominants. Typical vertical structures found in this movement are: (l) tertial seventh, ninth, eleventh, and thirteenth chords (which frequently contain one or more split inter— vals), (2) chords of two or three successive fifths (espe— cially the chord C—G—D, which appears for a long time) and, less often, (3) chords by fourths. Some chords by fifths contain diminished or split intervals. The following chord illustrates a typical combination: Konzert fur Violine, Klarinette, Horn und Streichsextett, second movement, m. 8 —-——————-—-— . . (reduction of vertical sonority). Example 39. 116 Polytonal structures which combine any of the above chord structures are also frequent. The following chord (perfect fifth, diminished fifth, and g minor triad) is characteris— tic of several such arrangements found in Section I of the introduction: Example 40. Konzert fur Violine, Klarinette, Horn und Streichsextett, second movement, m. 8 of introduction (reduction of vertical sonority). .01 The last chord of the introduction is a polytertial chord of an a#7 chord over a G7C”. Example 41. Konzert fir Violine, Klarinette, Horn und Streichsextett, second movement, m. 58 of _________”——- introduction (reduction of vertical sonority). 117 The fourth, as one of the favored intervals, appears vertically in structures built by fourths as well as in tertial inversions. Seconds are prevalent in chords with split intervals. A vertical arrangement such as the one at measure 10 could be regarded as a thirteenth chord on G (without an eleventh or fifth) or a chord by major seconds on E flat. Example 42. Konzert fur Violine, Klarinette, Horn und Streichsextett, second movement, m. 10 (reduction of vertical sonority). Tritones often result from split interval chords and/or may be Part of chords built by fifths. Most pedal chord structures are chords built by fifths. Other pedal chords are built by thirds or fourths. With the exception of an a11 chord (supporting the second appearance of I(3) in the exposition) and of pedal Chords within the development (where diversion is expected), all Of these chords have roots which are tonal pillars: G, D, and C. 118 Chains of similar or identical chord structures are esented in areas of transition. A noteworthy example is . the transition of the recapitulation (measures 266—272), (ere a series of parallel augmented seventh chords ascend ' whole steps. Similar chord structures appear side by side in nematic area sequential patterns as well, for instance 1 the first four measures of I(l). Example 43. Konzert fur Violine, Klarinette, Horn und (reduction of vertical sonorities). 29:2 170. /—\. \, ,-_ In the codetta, chains of delayed resolutions scure the harmony and provide a means of building up nsion. xture and Contrapuntal chnigues Variations between homophony and polyphony and tween thin and thick textures play an important part 1n ‘ ' re aping this movement. The introduction and coda a sically homophonic, as are the sections containing iginal statements of the principal themes. Polyphony usually associated with thematic development. At any e point the texture may range from one to thirteen sep- ate tones (e.g., the triple-stopped chord at measure 30, ich accOmpanies Theme 3 of Subject I). The spacing of the vertical structures cooperates 'th the harmony and general texture in establishing tension d relaxation. Measures 87—88 show how a cadential effect achieved by following a closely—spaced tertial structure ith a chord by fifths, in which the closest intervals are fourth apart. Example 44. Konzert ffir Violine, Klarinette, Horn und Streichsextett, second movement, mm. 87—88 (reduction of vertical sonorities) . 27 Sometimes sequential treatment is applied not only 3 the melody but also to the entire texture (e.g., the Pening two measures of I(l), measures 2-3, which occur fifth lower in measures 4-5). This technique is a vorite device of Merikanto in the transition. Close—range imitation gives the effect of a brief non in the linking material of measures 84—86. Apart om linking passages and the codetta, imitation is not gnificant in this music. Superimposition of familiar one-measure melodic— Lthmic patterns is a common contrapuntal trait in the KEEE' This technique is found along with original theme atements as well as in the transitional passages and the velopment section. Measures 14—16 combine rhythmic terial from the three theme areas of Subject I. Example 45. Konzert fiir Violine, Klarinette, Horn und Streichsextett, second movement, mm. 14—16. entation or diminution of material sometimes occurs ltaneously with the original form as another means of ombining familiar material. Invertible counterpoint at the octave occurs in sures 88-96. Here the clarinet restates the Subject II e (a whole tone higher than the original solo violin tement) above which the solo violin plays the former n ostinato. Only one example of authentic stimmtausch exists asures 199-200), where violin and clarinet exchange 'ts at an octave lower. In measures 171—178 the violin . clarinet trade parts after four measures, giving the 'ect of stimmtausch or invertible counterpoint, but the Lilarity of parts is only approximate. Another example invertible counterpoint at the octave occurs in measures -309, where the clarinet and solo violin take the places ‘merly held by solo violin and first viola, respectively, measures 48-55 of the introduction. Symmetrical arrangements permeate much of this music. measure 37 of the introduction non-retrogradable rhythm :bines with a mirrored wedge in simultaneous horizontal , vertical symmetry. Also representative of horizontal metry are the ten-note anacrusis figures of measures 153 , 156, which both share the symmetrical interval pattern ed on minor thirds and augmented and major seconds. 122 Vertical symmetry exists in chords consisting of consecutive intervals of the same size (e.g., perfect fifths, perfect fourths, or major thirds) or in a chord built symmetrically from a combination of intervals (such as C sharp—G—G sharp-D in measure 9). The vertical structure at measure 107 may be analyzed as a polychord of an f#°7 chord over an Eb7 chord or as a chord derived from an eight—tone scale which alternates half and whole steps. Orchestration All instrumental parts fall within normal ranges. In sections of full texture the solo violin is set apart from the other violins by its use of its highest register. The high register of the horn part also helps to identify the horn as a solo instrument. Idiomatic understanding of the instruments is evident in the choice of thematic material assigned to each instrument and in the use of special techniques. The violin and clarinet share the lighter, dance—like themes which would be associated with such instruments, while the horn is given a theme reminiscent of a hunting call. Special effects employed by the solo violin include trills, double stops, harmonics, and Egg sordino. The down- bow markings of measures 41-44 typify the composer's meticulous scoring. 123 Except for some trills, flutter-tonguing (which briefly occurs twice) is the only unusual clarinet technique found in this movement. The horn occasionally plays con sordino and has a bold cuivré solo which announces the coda. The secondary string parts are colored by trills, pizzicato, double and triple stops, and occasionally harmonics and Eon sordino. Parallel glissandos in the violins and Violas announce the Opening of the Vivace. CHAPTER V CONCLUSION In this paper the role of the clarinet within the context of twentieth—century Finnish music has been examined. From its limited use as a folk instrument, the clarinet became a medium for a diversity of musical styles as its idiomatic potential came to be realized. The availability of accomplished clarinetists, as well as of established chamber groups which include clarinet, has been a significant incentive to contemporary Finnish com— posers to write for this instrument. The twentieth—century trend to write for unconventional combinations of instruments has no doubt also encouraged some of these composers to turn to the clarinet for its unique color. The twenty—two clarinet compositions mentioned in the first chapter, which are some of the products of these circumstances, are evidence that there has been significant writing for clarinet in twentieth—century Finland. The preceding three1chapters have been devoted to the analysis of three compositions which the author considers to be representative of twentieth-century Finnish Clarinet music. It might be of interest, in summary, t0 reVleW how 124 125 these compositions came into being and to compare the three styles. Bergman's Th£§g_Fantasias for clarinet and piano (1954) was written in answer to a commission and was later published by Westerlund. Its three movements are of con- trasting character; whereas the first and third movements treat the clarinet and piano equally, the middle movement features the unaccompanied clarinet, with only occasional piano accompaniment added for color. Three Fantasias is a twelve-tone work, in which the row is generally treated quite strictly. Besides the row, important unifying devices include melodic—rhythmic cells, non—retrogradable rhythms, and tonal-centeredness, which is based on the tendency for certain tones to assert themselves in places of prominence. Meters change frequently, but rhythms tend to be straight- forward, and divisions and subdivisions of the beat tend to be regular. The manipulation of consonance and dissonance is important in shaping the music. Since the clarinet and piano interact in relay-fashion, counterpoint is of little significance in this work. Subtleties in articulation and nuance call upon the clarinet's versatility, but aside from trills no special effects are demanded of the instrument. Raitio wrote Elegia sooloklarinetille (1966) during his days as a composition student. The composer chose the clarinet as his medium because of his fondness for the 7i 126 instrument and because he felt that this particular instrument was best—suited to expressing the melancholy emotional content of the music. Unfortunately, the work has not been published. Elegia is twelve—tone, but not in the usual serial sense. The row is created as the music evolves, is treated developmentally, and then is disassem- bled. The frequently recurring E,F#,G tone cell establishes tonal—centeredness on E. Recurring rhythmic patterns and non—retrogradable rhythms, as well as the tone cell, unify the work. Shifting divisions of the measure and the beat, de-emphasis of the barline, and frequent meter changes all contribute to rhythmic flexibility. Extremes of range and dynamics (easily produced on the clarinet) cooperate with this rhythmic freedom in creating a sensitive and dramatic monologue. Merikanto‘s Konzert EEE Violine, Klarinette, Hggg E29 Streichsextett (1925) was written during the composer‘s radical period. This chamber work first found acceptance outside of Finland in less conservative Germany, where it was published by B. Schott's Sohne. In spite of its treatment as a folk instrument, the clarinet is here also recognized for its virtuosity; the occasional use of flutter— tongue sets this work apart from the Bergman and Raitio works as the only one to assign special effects to the clarinet. 127 The second movement of Merikanto's composition is based on the evolutionary development of seconds, fourths, and tritones, and unfolds according to a modified sonata— allegro plan which, in this case, dispenses with traditional key relationships and functional harmony; however, tonal centers are alluded to at important structural points. Important unifying devices include a melodic wedge motive and a persistent dotted rhythmic motive. Rhythmic simplic— ity characterizes this composition and, contrasting to the works of Bergman and Raitio, the meter remains the same throughout most of the movement. Whereas rhythm and melody tend to be simple, vertical sonorities and texture are more complex. Textural variation provides a principal means for shaping the music. Throughout this movement, Scandinavian romanticism (folk—like melodies) combines with influence of late German romanticism (thick textures and highly-developed counterpoint), twentieth—century Russian music (chords built by fifths and fourths), and impressionism (extended tertial sonorities, polychords, split intervals, parallelism, unusual scales, and glissandos). Considering the small size of the country from which this clarinet music has come, the diversity of styles and the amount of creative output are impressive. Future writing for clarinet in Finland will undoubtedly depend upon the con— tinuation of high performance standards and the willingness 128 of clarinetists to perform new works. Possibilities for publication of more clarinet music would also be an incentive to Finnish composers to write for this instrument. The author hopes that this paper has helped to promote an awareness of the clarinet literature by Finnish composers which is already available. She also hopes that this endeavor will encourage publication or republication of many of the compositions already mentioned, and will encourage Finnish composers to write more music for the clarinet. APPENDIX Three Fantasias FOR CLARINET AND PIANO 0p. 42 I Moderato grottescamente (J): ca 100) Erik Bergman (1953-54) mf poco cresc. © Copyright 1965 by 0y. R.E. Westerlund Ab. 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Concertino d3 Camera for flute, clarinet, bass clarinet, percussion, piano, violin, viola, and cello. Unpublished manuscript, 1961. . Three Fantasias for clarinet and piano. Helsinki: 0y R. E. Westerlund Ab, 1965 (since 1967, Edition Fazer, Helsinki). Fougstedt, Nils—Eric. Divertimento for woodwind quintet. Unpublished manuscript, 1916. Hauta-aho, Teppo. Septetto for clarinet, bassoon, horn, violin, viola, cello, and string bass. Unpublished manuscript, 1971. Sonatita for clarinet, horn, cello, bassoon, and string bass. Unpublished manuscript, 1969. . Trio for Clarinet, String Bass, and Percussion. Unpublished manuscript, 1972. Heininen, Paavo. Discantus l; for unaccompanied clarinet. Helsinki: Edition Fazer, 1974. Madetoja, Leevi. Polska No. l for clarinet and piano. ___— Helsinki: Oy R. E. WEsterlund Ab, 1929. . Polska No. g for clarinet and piano. Helsinki: Oy R. E. Westerlund Ab, 1929. Klarinette, Horn und Merikanto, Aarre. Konzert ffir Violine, tt's Sohne, 1925. Streichsextett. Mainz: B. Scho Pylkkanen, Tauno. Pastoraali for clarinet and piano. Unpublished manuscript, n.d. Raitio, Pentti. Elegia sooloklarinetille. Unpublished manuscript, 1966. 161 162 Ranta, Sulho. Ea Sera for clarinet and piano. Unpublished manuscript, n.d. Rautavaara, Einojuhani. Sonetto for clarinet and piano. Unpublished manuscript, 1969. Roiha, Eino. Meditatio for clarinet and piano. Unpublished manuscript, n.d. Saikkola, Lauri. Divertimentg for Five Wind Instruments. Unpublished manuscript, 1935. Quintetto for woodwind quintet. Unpublished manuscript, 1969. . Suite for Clarinet and Piano. Unpublished manuscript, n.d. Salmenhaara, Erkki. Quintet for Wind Instruments. Unpublished manuscript, 1964. Salonen, Sulo. Quintetto for woodwind quintet. Unpublished manuscript, 1962. Sermila, Jarmo. Crisis for clarinet quintet. Unpublished manuscript, 1973. Sonninen, Ahti. Conference for clarinet, horn, trumpet, and trombone. Unpublished manuscript, 1954. Books Brindle, Reginald Smith. Serial Composition. London: Oxford University Press, 1966. Horton, John. Scandinavian Music: A Short History. London: Faber and Faber, 1963. Lang, Paul Henry, and Broder, Nathan. Conemporary Music in Europe: A Comprehensive Survey. New York: 5 G. Schirmer,—Inc., 196 . Maasalo, Kai. Suomalaisia Savellyksia. 2 vols. Helsinki: Werner Soderstrom 0y, I964. Helsinki: Marvia, Einari, ed. Suomen Saveltajia. 2 vols. Werner Soderstrom 0y, 1966. 163 Richards, Denby. The Music of Finland. London: Hugh Evelyn, Ltd., 1968. _— Teerisuo, Timo. Aarre Merikannon Ooppera Juha. Helsinki: Vammalan Kirjapaino 0y, 1970 (Summary in English by Peter Jones, pp. 232-246). Other Sources Catalogue de la musique de chambre finlandaise. No. 1. ___—_— Music Information Center. Erik Bergman (brochure). Helsinki, [n.d.]. Oramo, Ilkka, ed. "Erik Bergman" (Summary in English). Musiikki, 1972, Issue 1, p. 24. Interviews Bergman, Erik. Helsinki, 23 May 1973 (Riitta Parikka, translating). Dahlstrom, Fabian. Helsinki, 25 May 1973. Fagerlund, Martin. Helsinki, 1 February 1973. Fransman, Holger. Helsinki, April and May 1973. Hauta—aho, Teppo. Helsinki, 27 May 1973. Hirvensalo, Iiro. Helsinki, 10 February 1973. Kuusisto, Ilkka Tanelli. Helsinki, 12 April 1973. Lotjonen, Tapio. Helsinki, 8 February 1973. Marvia, Einari. Helsinki, 8 January 1973. Pentti, Helsinki 29 May 1973 (Jarmo Sermila, translating). Raitio, Sgobba, Mario. Helsinki, 19 February 1973. Smolar, Koppel. Helsinki, 19 February 1973. Teerisuo, Timo. Helsinki, 12 April 1973. ..\.1....... )1) 8m LIBR RIES m; 89 LI" -009 H} 3129 MICHIGAN STQTE UNIV .23. ... . 3.33%». . {ix 1%.... same... m... @3233? .I.. I. ‘32. —:h“-owv“\l.ur .3) .- 3 K I 1 X. S _. News... inn . swarm... __ an an». “R ”a...” . mm. ... . .... 1.. a? K m f \ wk”? 1. .2 w“ 3 : G .73..” w ... a i: “..W. ..