F-‘------—. IHFLUEMCES 0F fifiPAR‘ESE HOGAKU MAMFEST EN SELECTED CiEMPOSiTEONS EV PETER MENMN ANS? BENJAMIN BREWER 1mm for the Degree of Ph. 'D. MECHiGsiN SY‘QTE UNIVERSETY MARY RE}??? KNOWS 1969 ”“1895 This is to certify that the thesis entitled Influences of Japanese Hogaku Manifest in Selected Compositions by Peter Mennin and Benjamin Britten presented by Mary Ruth Rhoada has been accepted towards fulfillment of the requirements for _Ph_°D°_ degree in _lM3_-_C_ Major professor Date November 10, 1969 0-169 ..I.- - M . .r ‘H ;s._' . ...a-‘_--” i‘ . r > ” ‘ ’ ... .t. .A._ “4‘44‘ 7'; 'l ‘Lnr '. .... ‘—~«..“ ‘7‘ v ” .; -. .v“.-""v- I- ... ' I — ‘ v u. M ..... .4 H‘.I\- . r . . 7 ‘4 A 5'. ‘ r ‘ p—d .1 .‘v“.: v... v .. . ‘ ‘ r I' . ("7‘4. *‘1 I r, . ‘W A..- t ;'fl. ‘F '1 _ 1‘ "JJ‘A ~ ’2‘ f ..1 l‘ . A... I. r V. ‘ '~ ':sf ’ ’- u . ,. . _ r ~ K h-«.. v ‘9» . '5. ”'7 a ,9 “‘0‘- V..- ‘!._ ml ’5 “’7',’ 7‘ 'fl 4“ ~':v ~ " "’ . 'v“ " ‘r-' y" k, 4“- ABSTRACT INFLUENCES OF JAPANESE HOGAKU MANIFEST IN SELECTED COMPOSITIONS BY PETER MENNIN AND BENJAMIN BRITTEN By Mary Ruth Rhoads Since World War II and the subsequent American occupation of Japan there has been an enormous increase in the cultural and artistic exchange between Japan and the Western world. In the area of music, a vital resurgence of interest in Japanese culture has stimu- lated a number of respected composers to try their hands at fusing the Japanese idiom with their own distinctive styles. In view of the genuine interest demonstrated toward Japanese traditional music (hogaku) I feel that there would be considerable value in investigating the nature of its influences shown in representative Western compositions; I wish to compare the characteristics of hogaku with those of the selected compositions in order to determine the extent of their relationship and to ascertain how the composer incorporated the Japanese aesthetic into his own individual style. Peter Mennin's group of four songs and Benjamin Britten's Curlew River have been selected for the study because they are works by serious and respected composers, - -- V t. y I ' 4-- ""- ...J . 5, 0'2" ,..,- . . _ —..-— ._.‘ .A--..-~v ' ..,.__—. --qu7 ‘3 ‘ _. 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It is not my inten— tion to examine these works from every possible aspect, but only with regard to a comparison with hogaku. A list of questions serves as the foundation of the investigation, each inquiry having to do with some specific characteristic of hogaku; the answers to the questionnaire are abbre— viated and compiled into a comparative chart. Peter Mennin's group of songs shares a respectable number of characteristics in common with both Curlew River and hogaku. A specific comparison may be seen in the accompanying chart. Generally the similarities appear to lie in the emphasis on linear structure and contrapuntal techniques, the use of motives or melodic patterns, a pre- ponderance of conjunct motion, bitonality, pedal points and ostinati, rhythmic freedom and complexity, and the predominance of secuntal, quartal and added-note sonorities with their special emphasis on perfect intervals and seconds. It may be observed that these characteristics are also found in Western music that has no relationship whatever to hogaku. Mennin seems to have selected those traits and techniques inherent in hogaku that most resemble the twentieth-century neo-classic style in which he is prone to write. The result is a group of eminently singable, attractive songs that have a definitely oriental '3‘W' r”; ‘IIO"."‘."'- .... ~—rrv\"‘_ ~14uu .n-uvovJ- . - -.. ..f ...,. .r— -. - ~.n ~-.-\.-b - | — “-~ a, c-..;"‘; - ‘- 4 . ’q. . . »'- ‘n- .. .' r . . ‘. 7.-. Q .- ‘ “r— :“4-:.”\ ’,v . "' A...J fl~ M u “‘4.;. I ¢._‘ a‘. c d‘ ’I' -; ‘p,... \ ‘oi‘ , ’u l .u- “‘vt. £3 a.» 4 ' ' - "s ‘-. fi‘ r- in. .p. - _ ., . 7'v“l . ~_ I .~".f, v“ ,. 4‘0 " 7" . I ‘-. a ~‘:"~~ s , é.“- v':~—\ H .v V A h C ”- ‘k Mary Ruth Rhoads flavor. The resemblance seems to stOp there. Mennin has (unfortunately, in my opinion) chosen to ignore one of the most important attributes of all of hogaku: the exquisite and sensitive wedding of words and music. Curlew River is another story indeed. Britten's remarkable score displays an intimate knowledge of both the techniques and the aesthetic of hogaku, expecially of £22 and gagaku. Unlike Mennin, Britten has gone to great lengths to "marry" the music to the words so that the two are truly inseparable. He has drawn upon Japanese scales, heterophony, microtonal ornamentation, harmonic and melodic patterns and even Japanese vocal and instrumental tone colors. The structure of his parable follows the structure of 222 drama in practically every detail, and the manner in which he uses tone painting and symbolism imbues the work with the essence of the noh mystique. Curlew River should be clearly recognized as a conscientious attempt by a serious composer to translate the essence of hogaku into terms meaningful to Western ears. In my opinion the attempt was not only successful but inspired. INFLUENCES OF JAPANESE HOGAKU MANIFEST IN SELECTED COMPOSITIONS BY PETER MENNIN AND BENJAMIN BRITTEN By ._ _,C,".l ~ I". ~' Mary Ruth Rhoads- A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Department of Music 1969 Copyright by MARY RUTH RHOADS 1969 t ‘4... a p' F. D, \ .JO-U V.- a. -.\ . s .. 7"v NLAJV and I «... ‘ p..p “ 1 f . .4 v. ~A..- VU ‘ .. '; '.~ "P .. .-, ~‘v ,.“ r “,1. v" c.- . Va ~ - :'1-‘-~ s : ” "-""~ I -. ‘npg'- ,‘A‘ T“‘"u-u p. ACLA p. A. a- (1. : v., ‘ Pa ‘Ili S b a a ‘ q. ".‘i‘ ‘4 ‘ u". A“. "A h ‘h' in. , 4- e«. ,- \ . “w r. DEDICATION This thesis is dedicated to my husband, Kenneth, who made it possible. Despite the fact that he was working toward his own doctoral degree while teaching, he not only found time to lighten my household burden, but provided a bulwark of aid and inspiration. His thorough knowledge of literature, ngh_drama and music has helped me solve many knotty problems during the course of my work. His courage and integrity at leaving a secure and remunerative position as an industrial executive at a somewhat mature age to assume the role of scholar and teacher has given me the strength to perser- vere in my own career. I could not have accomplished any of the goals leading to and including this thesis Without his remarkable patience, understanding and encouragement. ii r-F' ACKNOWLEDGMENTS I should like to express my sincere appreciation to the members of my guidance committee for their genuine assistance and innumerable kindnesses. I am especially indebted to Dr. Paul O. Harder who, in his capacity as thesis director, provided invaluable counsel and guidance and spent numerous painstaking hours on my behalf. Dr. H. Owen Reed graciously gave of his time and extensive knowledge in many stimulating and enlightening discussions. Dr. Walter G. Hodgson not only served as mentor and guide in countless ways, but afforded me the opportunity to learn much about college teaching under his expert tutelage. Joseph Evans, a cherished friend and teacher for many years, has been a constant source of help and inSpiration and indeed is largely responsible for my decision to return for further musical study. A vote of thanks must go to Dr. William P. Malm of the University of Michigan, who willingly gave much of his precious time to a total stranger and who served as the Irrincipal authority in the realm of Japanese music. I should also like to thank my children for their subst:antial contributions toward the progress of this ' Studbl. My daughter, Sharon, placed her extensive Japanese liteliary and musical library at my disposal and acted as 111 representative in Japan, contacting people and collecting scores and information. My son, Kenneth, took upon himself a number of my own household chores, typed manu- script and offered constant support and encouragement. But the single indiVidual most responsible for whatever success I may have had in this venture is my husband, to whom this thesis is dedicated. I wish to express my gratitude to several persons and publishing houses for their permission to use copy— righted material in this work: Dr. William P. Malm for excerpts and illustrations from his book Japanese Music (published by Charles E. Tuttle); Barenreiter Music Publishers, Inc. for illustrations included with the record jackets of The Music of Japan from the UNESCO collection, A Musical Anthology of the Orient; Nippon Gakujutsu Shinkokai for the libretto to Sumidagawa; Faber Music Ltd. for the score to Curlew River; and Carl Fischer, Inc. for the scores to Peter Mennin's A Song of ED? Palace, Crossing the Han River, In the Quiet Night and The Gold Threaded Robe. iv TABLE OF CONTENTS Page DEDICATION. . . . . . . . . . . . . . . ii ACKNOWLEDGMENTS . . . . . . . . . . . . . iii LIST OF FIGURES . . . . . . . . . . . . . vii INTRODUCTION . . . . . . . . . . . . . . 1 Chapter I. A BRIEF HISTORY OF JAPANESE MUSIC . . . . 6 II. CHARACTERISTIC ELEMENTS OF HOGAKU . . . . l“ Religious Music . . . . . . . . . 1A Shinto Music. . . . . . . . . . 1A Buddhist Music . . . . . . . . . 21 Gagaku. . . . . . . . . . . . 26 Nohgaku . . . . . . . . . . . . ‘26 Biwa Music . . . . . . . . . . . A9 Koto Music . . . . . . . . . . . 51 Shamisen Music. . . . . . . . . . 5A Nagauta . . . . . . . . . . 58 Other Kabuki Music . . . . . . . . 63 Folk Music . . . . . . . . . . . 66 III. PETER MENNIN'S "A SONG OF THE PALACE" . . . 69 Melody . . . . . . . . . 69 Linear Characteristics .. . . . . . . 9O Harmonic Structure . . . . . . . . 92 Rhythmic Structure . . . . . . . . 94 Form . . . . . . . . . . . . . 96 IV- PETER MENNIN'S "CROSSING THE HAN RIVER" . . 98 Melody . . . . . . . . . 98 Linear Characteristics . . . . . . . llO Harmonic Structure . . . . . . . . lll Rhythmic Structure . . . . . . . . 113 Form . . . . . . . . . . . . . 115 Chapter V. PETER MENNIN'S "IN THE QUIET NIGHT". Melody . Linear Characteristics Harmonic Structure Rhythmic Structure Form . . . VI. PETER MENNIN'S "THE GOLD THREADED ROBE" Melody Linear Characteristics Harmonic Structure Rhythmic Structure Form . . . VII. BENJAMIN BRITTEN'S "CURLEW RIVER" Melody . Linear Characteristics Harmonic Structure Rhythmic Structure Form . . . . VIII. CONCLUSIONS. BIBLIOGRAPHY DISCOGRAPHY . . . . . APPENDICES. I. Checklist . II. Comparison of Libretti to Sumidagawa and Curlew River III. Comparison of Noh Stage and Curlew River Set. IV} Glossary of Japanese Terms. . . vi Page 116 116 126 127 128 129 131 131 IDS 1A7 1A9 1A9 15“ 161 258 310 31“ 321 329 3AA 350 3514 355 361 376 379 15. l6. 17. LIST OF FIGURES Page Sketch of a Wagon . . . . . . . . . l6 Wagon tuning for "Azuma Asobi" . . . . . 16 Folk Pentatonic Scale . . . . . . . . l7 Wagon Patterns. . . . . . . . . . . 17 Kagura-bue . . . . . . . . . . . . 18 Hichiriki Seen from Both Sides . . . . . 18 O—daiko, take—hue and taiko . . . . . . 2O Japanese Basic Scales . . . . . . . . 22 Gaku-so Patterns . . . . . . . . . . 27 The Six Gagaku Modes. . . . . . . . . 29 Nasori . . . . . . . . . . . . . 31 Chords of the Sho. . . . . . . . . . 32 Sho Chords . . . . . . . . . . . . 33 Koto Tunings . . . . . . . . . . . 52 Nagauta Recitative Melodic Patterns. . . . 59 Tonal Organization . . . . . . . . . 194 Comparative Chart. . . . . . . . . . 330 vii INTRODUCTION Even before World War II, Japanese literary and artistic forms had left their mark on a number of Western writers and artists. The American imagists were profoundly influenced by the Japanese haiku with its "single sharp image."1 The imagist movement, which reached its zenith between 1909 and 1918, was founded by Ezra Pound and included many eminently respected poets, among them Amy Lowell, William Carlos Williams, "H. D.", Carl Sandburg and John Gould Fletcher. W. B. Yeats found a sympathetic response in ESE drama to his own aesthetic which had already intuitively paralleled that of BEE! His Four Plays for Dancers comprise his most obvious application of the Egg principles and performing traditions. Further, all of ‘the subsequent plays manifest the vital impact BBB has Inade upon Yeats (see Japanese glossary, p. 379). In the art world, the Japanese brush techniques and the Japanese prints had exerted an unequivocal influence on the impressionists and even more so on lWilliam Flint Thrall and Addison Hibbard, A Handbook to Literature, revised and enlarged by CT HUgh Holman (New York: The Odyssey Press, 1nc., 1960), p. 236. the post—impressionists. Manet's portrait of Emil Zola and Van Gogh's "Pere Tanguay" both display Japanese prints in the background in mute homage to the impact made on their styles. Japanese music, on the other hand, had little effect on Western styles before the Second World War. Abortive attempts were made, often by mediocre composers, to incorporate aspects of the Oriental idiom into Western music, but with a very few exceptions the results were superficial at best and exhibited a sorry lack of understanding of the Japanese aesthetic. Parallel fifths (and occasionally fourths) and the Chinese penta- tonic scale (similar to the black notes of the piano) constituted the principal Oriental cliches, and this pseudo-Oriental music fell into a stereotype often dull and tasteless. Since World War II and the subsequent American ocCupation of Japan there has been an enormous increase in the cultural and artistic exchange between Japan and the Western world. Western music has become extremely popular in Japan; many symphony orchestras, ballets and Operas appear regularly in major Japanese cities. American servicemen and civilians who had spent some time in Japan returned home with cherished memories of kabuki and bunraku performances, of poignant 5939 and Shamisen recitals. Many contemporary American scholars, writers and composers have evidenced considerable interest in Japanese philosophy, literature and music. The literary disciples of the imagists and of Yeats have continued to he fascinated with Japanese art forms; hgikg writers abound in the United States, and Zen Buddhism has left a marked impression upon Western philosophy and litera? ture. In the area of music, a vital resurgence of interest in Japanese culture has stimulated a number of respected composers to try their hands at fusing the Japanese idiom with their own distinctive styles. Some composers have become intrigued with Chinese and Japanese poetry and have set many of the poems to music. Others are inter— ested in the singular adaptability of Japanese musical tradition to the electronic idiom and serial techniques. Still others are challenged by the total integration of the arts inherent in Qgh_and kabuki drama. New courses in ethnomusicology, especially on the west coast, have taught many young composers about the music of Japan, and numerous Japanese recordings have appeared on the market and increased American familiarity with the idiom. Renowned kggg performers like Michio Miyagi (until his death in 1956) and his pupil Kimio Eto, have concertized throughout the West and introduced musicians to the exotic and beautiful instruments. Benjamin Britten, Igor Stravinsky, Anton Webern, Alan Hovaness, Ernst Toch, Gardner Read, Mel Powell, Peter Mennin and a growing number of young composers have written and are writing compositions manifesting Japanese influences to a greater or lesser degree. Gardner Read's From a Lute of Jade (19A3) and Stravinsky's Three Poems from the Japanese (19“?) display distinctly impressionistic characteristics; in fact Stravinsky dedicates the last song of the group to Maurice Ravel. On the other hand, Mel Powell's Haiku Settings (1961) exhibits a desire to infuse the serial technique with Japanese musical traits, especially with respect to the vocal tone quality. In view of the genuine interest demonstrated toward Japanese hogaku (traditional music) I feel there would be considerable value in investigating the nature of its influences shown in representative Western compositions; I wish to compare the characteristics of hogaku with those of the selected compositions in order to determine the extent of their relationship and to ascertain how the composer incorporated the Japanese aesthetic into his own individual style. My own creative interest has some bearing on my selection of this topic for study. I am especially interested in setting contemporary Japanese poetry to music and hOpe through this investigation to acquire a P:- more intimate knowledge of both the Japanese aesthetic and of hogaku. Peter Mennin's group of four songs and Benjamin Britten's Curlew River have been selected for the study because they are works by serious and respected com- posers, because they are closely identified with Chinese and Japanese texts, and because they are long enough to provide some definite conclusions. It is not my inten- tion to examine these works from every possible aspect, but only with regard to a comparison with hogaku. A list of questions serves as the foundation of the investi- gation, each inquiry having to do with some specific characteristic of hogaku (see Appendix I: Checklist). The answers to the questionnaire are abbreviated and compiled into a comparative chart (see Figure 18, p. 330). CHAPTER I A BRIEF HISTORY OF JAPANESE MUSIC Although the origins of the earliest inhabitants of Japan are obscure, evidence remains of Japanese culture which dates from as early as the Pleistocene period of 1,000,000 years ago. Pottery and artifacts left by the Joman people in Japan c. U500 B.C. display the tremendous impact of nature upon their culture.2 Indeed the whole history of the Japanese people, their religion, their literature, art and music, reveals the depth of their amazingly sensitive response to nature and to beauty. Hall and Beardsley attempt to analyze this emphasis on beauty in their book The Twelve Doors to Japan. They attribute it in part to the proud retention of handi— craft skills and in part to traditional social customs: seasonal flower and moon viewing, decorating the tokonomo (the small alter in every Japanese home, containing some object of beauty), the flower arranging and tea cere— monies, all of which reveal a reverence for beauty. The short poem, the haiku, has long been their favorite 2John Whitney Hall and Richard K. Beardsley, Twelve Doors to Japan (New York: McGraw—Hill Company, 1965), p. 5“. 'luan:n°v ’NY" .a-:.JOJ ‘V.‘ I an. :_ :onO‘Ap‘ F : Cub-.UO‘. o..- ;--9:Ay\a1 1" obs-lfihlh-‘ -IIK A: .Apn", - - .1, Via _ 9. I‘DOtthV a l R I ”we‘ve ('3 literary form: a miniature burst of imagery, often related to the seasons, evoking a lightening flash of emotion. Thiscombination of rigid discipline and emotional inspiration is a constant factor in all forms of Japanese artistic endeavor.3 During the Yamoto Period in Japanese history (from about the first to the fifth century A.D.) the islands were inhabited by numerous small clans; of these, the Yamato clan was the first to establish itself as an imperial clan ruling over all the others. The music of this period was essentially folk music, simply con- structed and quite repetitious. From the third to the sixth centuries A.D., Chinese chronicles and reports by visitors to Japan indicated the early vital involvement of music in the daily lives of the Japanese. Early instruments men- tioned included a zither called a wagon and a flute constructed of bamboo (Yamato-bue) as well as several percussion instruments. The only extant musical composition dating back to this period is the melody "Kume Uta," attributed to the era of the reign of Jimmu (first traditional Japanese emperor); even this tune has undoubtedly undergone numerous changes. 31b1d., pp. 3ou—308. W .:e :P‘QWV‘:*J Ayfil .u--..A‘b-\vta f‘ fl up A '1'" .- .ml,‘ ‘rn "lboi. .lob - - Q .... a ,‘A,, '4 A> I _ udIOVUO“ Eu _ lphn o‘vg-“x, pr ..udt. y!.,." . ’;\:-a 5‘" v ""'"V Vase p. .n; \.AY\ : .. en. .‘1‘ a . ..._ \ 1:.IR‘F rr,. ugvnaog’g‘l 5-1:- I I.‘~‘ ‘ ~ fl ‘ “~o. a' no" , -¢ u. N “T's-‘0 . . .U.~"‘ ' ‘F: ‘1' “Its ‘d "v .9 L. ’ nuu‘. '1. v:- : .-~ .Q “1"1‘ . . ‘~~~'-a'9fi ‘,4 u .y“‘ ~ 5 "“U‘ QI“ \ '“r«833 “3.3. h 'l. Lahlp... Q ‘3. "“7 ."q awn “*t-bes v“. m‘ U‘ l “ \vA‘e. *1} 4.;‘ :“ '-.'e"‘g.v 75"; 1'} A V ‘F .A W "'7 "'1’: ~‘Way; ‘. u, s . ‘ .Ifla ¢': r ‘ a ‘ Q \; c4 ' I ski ‘n 1‘- v 2:; . dhg f‘ 5 re. (,3 4,. “‘ ‘. “Ga ~ ~‘ ’ prz‘.’ V w r'u‘!“ ‘u‘flal J A l «n' 5.- . I l .‘.£,Q‘ - The Nara Period (553-79A A.D.) marked the first international period in Japanese history and in Japanese music. The initial efforts were made to create a national government; Chinese culture was incorporated into every facet of life; Buddhism and Confucianism became the predominant religions. All court musicians of the Nara Period were imported from China or Korea, a situation parallel to that of early America, in which classical musicians were primarily from EurOpe. The court music, all of Chinese, Korean and Indian origin, was per- formed by the imported musicians in their native idiom. Most of this music was instrumental and it was frequently associated with dance. In addition, Buddhist liturgical music spread through Japan, influencing secular folk music. During the Heian Period (794-1185 A.D.) Chinese influences were transformed and absorbed into Japanese culture. The emperor's power diminished as the regent's strength increased, completely under the domination of the Fujiwara clan. The courtiers, deprived of any political influence, developed a society almost unparal- leled in its sophistication and refinement. Literature and the fine arts were cultivated to an enormously high degree, providing a silken veneer to the undercurrent of political intrigue. Lady Murasaki's The Tale of Genji, considered to be the most outstanding literary 1"...9-7 '\ n 'V‘. " ~‘y-as- utuw- O .— -:‘:~Alin‘ H; _‘,-..4Aatv r“ ‘ . lung '0" '7..'u.v v“ 7 -u -, n- l n\ c. .81. .. ‘ a "y‘h 1' A” ]- ‘ ....‘-J V. 8‘ u" I - . " : fl rflr “ "H‘UOU L1 v. . o Iatuwwsfl, “I'v- ‘Auv.g'v . -. . T", :flr" ‘Ol ‘4-_ "w .. A. a :5.- ‘Al‘ Us :79: -. ":l‘l' 0» 'v by. ha . c.) v..:.‘ a -. A1, 1’ n‘ ‘ '. b.‘., 3'7 E - , . .Qa \ e. n- “ "3 wit u.. 9 . -’| 4“ n'an .b“x.:e fishy .. 4‘ ‘ p ~.,‘:‘ ”a: A 4;. b 2n.— Vq‘ - a r. ‘-.: ‘ \ .4 -l " Dr' . \ N a J‘s...” Nb: >~v \ ‘¥. ‘*"i~‘.‘ o ,' “i "Q ‘ . v . Ulvla‘ J LP. -. yr‘v:fir‘ , ‘ ”e; “r ‘ r- “a .' . 5 . o “v .fi ‘4 Co I'D filer *v, 7:: N~‘fi ‘1.“ u e \ V C r: ‘1 K J ~' JP‘nE ‘( I {in s.‘;nnd 1 ‘ n ‘ "- 7‘: “ contribution of the Heian Period, illustrates the paramount position affOrded music and poetry. Every well-bred character in the book performs competently on at least one or two instruments. Genji reminisces fondly of lute music lessons and the exciting beauty of music performed on the £933, a Japanese stringed instrument. In addition to the ubiquitous folk music, Buddhist hymns and secular songs, including many composed spe— cifically for court banquets, provided the bulk of purely vocal music. The Heian Period saw the flowering of court music (gagaku) and the rise of a Japanese impact on non-Japanese instruments and music. Chinese instruments and musical forms were still used, but the performers were usually Japanese. The Japanese courtiers were highly skilled in the arts, and the music soon acquired specifically Japanese traits. Fine arts and literature were closely allied; the pigg (lute) provided the accompaniment for poetry and tales. Fragments of court music of the Heian Period survive today, virtually unaltered. This gagaku approaches an instrumental musical form, although it includes either a chorus or a dancer who relates the music to a historical narrative or an old legend. During the Kamakura Period (1185-1333 A.D.) Japan SUffered under a military dictatorship which established ,‘._-1n n . a". :‘Ja“yu-- ! o g n . a I '- I -.-A ‘ : _,‘,...~o-A . ~.-ns-,“\VI" 4.3. o..- ~1‘ A. . 0‘ :thuuo- Q- :1...c. . 4 A. v-. n... ‘ , "n s a“, 3 ‘ d '5 ~ 2—; s,‘ ~11“. cl.“ no. 10 a feudalistic state. To inhibit the influence of the effete court in Kyoto, Kamakura was selected as the seat of military headquarters. Buddhism spread enormously. The austerity of Zen Buddhism vigorously influenced the philosophy of the warriors. Their pride in the military ethic is reflected in the famed Heike Story (Heike Monogatari) which is a long epic intended for recitation to lute accompaniment. Korean and Chinese influence on Japanese music had virtually vanished. Dengaku, the theatrical ancestor of ngh_drama, flourished as the popularity of gagaku declined. Theatrical productions abounded, replete with comic dance and musical accompaniment. Military epics sung to lute accompaniment found great favor with audiences. Buddhist chants also left their imprint on most of the secular music, and the blending of sacred and secular musical elements paralleled that of the early European Renaissance. The singular predominance of vocal and theatrical music marked the emergence of an indigenous Japanese musical idiom. The sophisticated gagaku, vestige of the power of the courts, was fast being replaced by an artistic vernacular that reflected the political evolution to a feudal society. The Muromachi (Ashikaga) Period (1333—1615 A.D.) proved to be one of political chaos, with the languishing court aristocracy rendered bankrupt. Indeed, many of the 11 Ashikaga shoguns (literally, generals) are remembered as patrons of the arts rather than as political leaders. They surrounded themselves with brilliant artists and scholars, usually Buddhist priests and monks. The maturing of theatrical art forms and the influence of Zen monks culminated in the deveIOpment of Japan's first great dramatic form, the p22 drama. Simultaneously, the long narrative songs performed by wandering tale-spinners paved the way for the joruri, the Japanese narrative shamisen form. One of the primary purposes of gap drama was to impart a knowledge of Buddhist concepts. As early religious dances had provided the stimulus for 222: dance remained a principal aspect of the art form. How- ever, the chanting of inspired poetry by the actors and chorus furnishes an important element of nah drama. The second half of the Muromachi Period (1534-1615 A.D.) saw the introduction of the jamisen, a three- stringed guitar, to southern Japan. The simple bamboo recorder that had been played more and more frequently by itinerant priests was transformed into the shakuhachi. The zither of gagaku fame developed into the mellower koto, and the jamisen assumed the form of the modern shamisen. Drum-making was elevated to a remarkable level of artistry. 12 The Edo, or Tokagawa Period (1615-1868 A.D.) was characterized by movements to reestablish national unity and political stability, unfortunately by a system of rigid social control. Religious power was destroyed and Japan closed its doors to outside influence. Yet when Edo (now Tokyo) became the capitol, a new urban pattern of existence developed and a merchant class emerged. The retired samurai (warrior) and feudal lords, the newly-wealthy merchants, all clamored for entertainment. The most abundant variety of art forms in Japanese history blossomed in such fertile soil. Nearly every kind of music traditionally associated with Japan flourished. The bourgeoisie were regaled with kabuki drama and puppet shows, while the more polished members of society clung to the noh drama. Shamisen, koto and shakuhachi music thrived. Court musicians accompanied the still-traditional ceremonies; alms-seekers sang to their lute or shakuhachi accompaniments. Folk music persisted amidst all the musical and theatrical innovations. Japan's resistance toward Western contact and influence abruptly ceased after the arrival of Commodore Perry's fleet. During the Meiji Period (1862-1912 A.D.) a strong trend toward Westernization converted Japan from an agrarian-mercantile nation into a commercial and colonial one. The first Western influence proved to be 13 military; so was the original Western musical influence that of the martial band. The brassy nuances of tonic and dominant harmonies well—nigh ruined the beauty of the immensely subtle melodic idiom of Japanese music. For- tunately the impact was not permanent. The tragic wave of nationalism in the 20th century, that eVentually tossed Japan into the debacle of World War II, ironically returned traditional Japanese music to favor. Hogaku, the music indigenous to Japan, served as a convenient form of propaganda to fan the fires of national pride. (The musical heritage of hogaku embraces orchestral music, chamber music, opera and numerous varieties of vocal music. Theatrical emphasis is evident in most of the music. Early interest in the theatrical aspects of both religion and entertainment had increased con- siderably, so that by the Edo Period (1615-1868 A.D.) theatre had assumed an inordinate degree of importance. Even today theatrical elements dominate most areas of religious ceremony and secular entertainment. Vocal music plays a paramount role in hogaku. Instrumental music originally merely provided an element of diversion and variety in songs. The melodic structure 0f hogaku remains sophisticated and subtle, inextricably associated with the words. CHAPTER II CHARACTERISTIC ELEMENTS OF HOGAKU Religious Music The sacred music of Japan consists of Shinto and Buddhist music, as well as gagaku, the cultivated music of the court. Shinto Music The eighth—century Kojiki, "Record of Ancient Matters," proffers the earliest descriptions of Japanese music and dance. Shinto music originated with the dance performed by the princess Ame-no-Uzume-no-Mikoto ("The Heavenly Alarming Female") to coax the Sun Goddess out of hiding. For centuries thereafter many women who claimedtm>have descended.from Ame—no-Uzume were afforded the right to perform her dance, and it became an accepted part of Shinto ceremony. Although the Japanese, with their exceptional DGnchant for categorizing and cataloguing, add numerous Other divisions, kagura ("god music"), the Japanese name for Shinto music, can be subdivided into two main aPeas: (l) o-kagura, the music performed at court Shinto ceremonies and (2) sato-kagura, Shinto folk music and 1A l5 compositions performed at Shinto festivals. Ancient archives reveal accounts of kagura's remote beginnings, as well as early composers, compositions and performances. Many preserved poems had originated as texts for kagura songs. Court Shinto music (o-kagura) contains two distinct subdivisions: songs designed in praise of the gods or to enlist their help (torimono) and songs intended merely to please or entertain the gods (saibari). Both share similar accompaniments. Dr. Malm, in Japanese Music, relates the two forms to Bach's sacred and secular cantatas, in which Bach retains a similar musical style although the texts differ considerably.“ "Azuma Asobi," perhaps the best-known Shinto dance, dates back at least as far as the eighth century and survives as a vital representative of o-kagura. Early records not only 5 describe the dance but the instruments as well. Three instruments provide the nucleus for o-kagura orchestras: the wagon, kagura-hue and.hichiriki. The wagon (Figure l) is a six-stringed zither with moveable bridges and two soundholes in the back. Like a guitar, the adjacent strings of the wagon are tuned to intervals “William P. Malm, Japanese Music and Musical Instruments (Rutland, Vermont: Charles E. Tuttle Company,I19A9), p. 43. - 5"Azumi Asobi" appears on Record 16 of the UNESCO Coléection—-A Musical Anthology of the Orient (BM 30 L 201 . . Figure l.--Sketch of a wagon. some distance apart. The tones, however, are arranged to form two distinct broken chords, D minor and E minor. Figure 2 illustrates one of the tunings for "Azuma Asobi." vii-:2: Figure 2. Wagon tuning for "Azuma Asobi." When the notes are rearranged in the normal con— secutive order they form the pentatonic scale prevalent in folk music (Figure 3).' Thus the Egggg_displays characteristics common to both harmonic and plucked instruments. MuSic for the 23522.13 derived from a variety of arrangements of four melodic pattern (Figure A). Figure 3.--Folk Pentatonic Scale. r- —/r Figure A.--Wagon Patterns. The Eggg£_p1ayer strikes the broken chords with a plectrum in his right hand, after which he uses his left hand to stop the vibrations of most of the strings, allowing the continued sound of one or two notes. His left hand is also used to play melodic motives. Although the tempo and rhythm are variable, 32523 music essen- tially conforms to these basic patterns. Its primary function therefore is neither melodic nor harmonic; it 18 serves to delineate sections of the composition or to indicate phrase endings. The kagura-bue is a six-holed bamboo flute similar to the noh flute but with fewer holes (Figure 5). D" n.»~ r. v. ~.-- A In ‘I‘ I'DW‘.“ ’ - .4. .L-r. win-mm:- Innumnr. 'twmemo-wnmm' 'w c .I.,...s g'.._.fi'u:.-|- - .n,_.... H.— mom-nu: Figure 5.--Kaggra-bue. The kagura—hue produces the same six notes of the folk pentatonic scale (see Figure 3) although special fingerings will provide other tones. Both the kagura-hue and the double reeded hichiriki (Figure 6) play the melodic lines of mi-kagura. Figure 6.--Hichiriki seen from both sides. To the left below, the mouthipiece on which a small cap is but for protection. 19 Other instruments are often added to supplement the trio. The shakubyoshi, a wooden clapper, often acts as a time—beater if a chorus is used. The principal solo singer indicates the section beginnings with a vigorous shake of the shakubyoshi. Many species of drums and other instruments found in the court orchestras are occasionally added. The melodies are derived principally from early court music (gagaku). The kagura-hue and hichiriki frequently play a fluid style of heterophony with much ornamentation, trilling and glissando, while the waggn provides occasional melodic counterpoint as well as the chordal punctuation. Several elements inherent in the music of northern Japan can readily be seen in a study of mi—kagura. The melodic patterns of EEEEE music remain uniform. Solely instrumental music is seldom heard, and never in the Shinto service. The association of music with litera— ture, drama, dance or ceremony, evident since the earliest forms of mi-kagura, continues to be a vital Characteristic of Japanese music. Sato-kagura (village kagura) refers to folk or festival Shinto music. The hayashi, or sato—kagura instrumental ensemble, can consist of an assortment of irls‘truments. At city festivals it is most frequently COmprisedofa flutist performing on the six— or seven- holiui fue, and of three drummers, one playing the large 2O I—dalko and the other two strumming taikos, drums not unlike the Western snares. ‘\\\ \\\\\ 1N ‘\ r". by," // TAKE-3U! Figure 7.—-O-daiko, take-hue ,I; ”Mg: 0-DMKO TM K0 and taiko. The role of the drums in sato-kagura is both Varied and intriguing. The rhythmic patterns outlined by the’ hayashi drummers provide structural divisions similar . w, '5 u-.- ..A.--. . .‘ f,.. _-1-..-... \. . “I .--_-fi ... .....-~ .- -,. ... a“.-- ‘4..- .. ’ -p-. 3 . ..r........, -4 ‘ - .‘Tx 7"- .. "0 -....“‘ _" A- " ‘ .. , , -... r. ' ‘ . H ..,_ . " r. ‘l' - . "“‘“‘-¢-~ 7"" r.— _. “u 1 "“'“-Av .- - "~.._ . .._v . "7‘V-x. ‘u 7' v H ' ‘a4._~ . .4 .3 ,, k. .-'n -.._,v Vi . ‘tq ‘ - v ‘c "5' n , - 3 ‘ “'7‘; VI, 4“ Vll y._ . ‘1 L'rs «‘4‘. ‘ v ~ .7 v I ' 4 I“‘ ‘ 5 Q “‘ p l “a s- , any... . '\ A." a._‘ ‘a v“\ .n '- I‘ ~' U- ’ to the harmonic cadence formulas of Western music. Often two taikg_players join in a duet in which one drummer plays a complex variety of sync0pated rhythms against a simple drone. In lessfcomplicated compositions a rhythmic pattern, like the Indian tglg, is reiterated until the £33 melody is ended; the drummers then add a rhythmic cadence formula. The o—daiko is often reserved for introductory or cadential purposes, thereby emphasizing the organizational nature of the element of rhythm. The flute melodies display the same melismatic tendencies as those of o—kagura, with an abundance of ornamentation, trilling and glissando effects. All of the compositions performed at a folk festival are joined by flute passages, so that the entire performance is uninterrupted. Buddhist Music Japanese music theory stems from theoretical traditions of Chinese and Buddhist music. Shomyo ("radiant voice"), the art of composing and performing Buddhist plainsong, is said to have originated in India, the birthplace of Buddhism.' When shomyo was introduced in Japan via China in the 13th Century, it brought the foundations of a system of musical theory, a system retained in Japanese court music (gagaku). The Chinese musical organization of modes and rhythmic patterns was adopted and superimposed upon the ancient 22 Buddhist hymns (£3333). The lBth-Century monk Tanchi attempted to codify the modes and rhythms; his Shomyo Yojinshu, along with the theoretical writings of other monks of the period, provides the theoretical basis for an understanding of Japanese music. Hogaku uses the twelve different tones included in the Western chromatic scale. The two fundamental scales, ryo and ritsu, contain five basic tones: kyu, sho, kaku, chi and E (Figure 8). Figure 8.--Japanese Basic Scales. Each scale has two secondary tones containing either the prefix hen (corresponding to a flat) or g; (corresponding to a sharp). The secondary tones, called £22222 (changing tones) mainly serve a modulatory runction. 23 The 33353 scale structure follows the pattern of the pentatonic folk scale manifest in folk music the world over. Its principal distinction from the EXS scale structure comes from the position of the kgkg. note, which provides the interval of a perfect fourth above the starting note D in the EEEEE scale, and a major third above D in the £13 scale. One prominent school of Japanese theory stipulates that §y2_scales can be started only on D or G, while §£E§g_scales should start only on E or B. The shomyo modes are classified according to the gyg and {i353 scale formulae upon which they are based: (1) ryokyoku, melodies based on a pentatonic scale with a major third, and ritsukyoku, melodies based on a pentatonic scale with a perfect fourth. A third classification, gakkyoku, actually refers not to the scale structure but to the fact that it is sung by the entire congregation and not by a soloist. The rhythmic elements of shomyo theory are more loosely constructed and less easily codified. Neverthe- less two basic classifications appear, jokyoku and teikyoku. Jokyoku, used primarily in hymn (EEEEE) Chants, has no set pattern. The length of the text and the rhythmic accents implicit in the words of the text determine the rhythms of jokyoku. Several subdivisions may be included: (1) igggi, a very slow intonation with deliberate, drawn-out syllables; (2) EEQEE, a 310W tempo; 2A (3) tanzei, a sharp and rapid intonation; (A) kirigoe, a very rapid, crisp reCitation. The metrical rhythmic patterns (teikyoku) are commonly either i (honyoku), 3 (shibuzen), i (ghggg), or i (kirigoe). Almost all rhythmically measured music contains a form of rhythmic augmentation (E222) similar to that found in the Western fugue. In addition to consistently measured rhythm (ichibyoshi), measured time with changing meters (nibyoshi) occurs frequently, as for example 2 + i. Free and measured rhythm may be combined (gugyoku). Hakyoku refers to essentially free rhythm in which some measured beats, or tactus, may appear. The modes and rhythms of Japanese shomyo are not nearly so easily comprehended as the classifications would imply; there are too many exceptions. However the melodic structure of Buddhist chant remains obvious and consistent. It is comprised of a number of stylized mOtives or melismata sung individually and then combined to form a hymn. Many embellishments add interest to the melodic line. Further contrast is offered by changes in dynantics, and the voice may fade away in an expressive EEZEEEEQ, The tone quality also varies in the different a-I 25 passages, sometimes BEBE: "flat or shallow," sometimes fukai, "deep or intense." As is customary in the Christian church, a large bell is used to call the Buddhist priests and congregation to the service. The huge bell (a densho or hansho) is rapidly and violently struck with a hammer. A variety of drums and gongs, both large and small, and.the temple blocks familiar to Western ears form the instrumental backbone of the Buddhist ceremony. Percussion instruments abound, and in many important services court instruments are added, but the drums, gongs and temple blocks remain the nucleus of the Buddhist ceremonial accompaniment. Proselytizing Buddhist priests transformed many chants, often basing their compositions on existing folk music, in order to render the music more appealing to possible converts. As a result, a number of folk songs retain characteristics of the Buddhist chant (Ei§§3)' They are unaccompanied, and the syllables spin out the long melisma reminiscent of waggg, In a radical metamorphosis from hymn to secular topical satire, the salmon became completely disassociated fTOnl religious context. Joined by the shamisen, it was tr“atl'lsf'ormed into the narrative music known as uta-zaimon. ~_-_‘ . 1 6Excellent examples of Shomyo may be heard on Record 05 or the UNESCO Collection-—A Musical Anthology of the 223:313 (BM 30 L 2015) and on the Lyrichord recording, -§_QL_Coeika and Shomyo Chants (LL 116). 26 The genre of folk song designated as ondo has its roots in a type of Buddhist hymn still extant. 0ndo is commonly responsorial, alternating between soloist and chorus. Gagaku The sacred music of Japan includes not only the Buddhist and Shinto music connected with the religious rituals, but gagaku as well. Gagaku, the Japanese court music whose very term means elegant or refined music, is recognized as one of the oldest traditional forms of orchestral music still extant in any culture.1 Eta Harich-Schneider attributes to gagaku a striking solemnity and noble aloofness, two characteristics totally absent from the sensuous and affected entertainment music. Musically this impression derives from richer instrumentation, a broader formal structure, a more precise and regular metrical form and generally greater melodic variety.7 In the 9th Century the standard ggggkg_orchestra was established, consisting of a well-balanced variety of instruments. Three high woodwinds of contrasting color Convey the principal melodic line. The hichiriki, a dOlAble—reed "oboe" with a strident tone, is found in everw, gagaku orchestra; three types of flutes with varying rangxas imitate the hichiriki heterophonically, and the £29: \ J 7Eta Harich-Schneider, "The Present Condition of laPEUlese Court Music," Musical Quarterly, XXXIX (January, 953)} p0 51. 27 a strange species of mouth—organ, contributes a series of dissonant chord progressions. Three types of percussion instruments offer contrasting pitches: (l) drums of varying size ranging from the huge da—daiko to the small 33333; (2) the bronze gong (33333) intoning on the first beat of each measure and after every four bars; and (3) the previously-mentioned shakubyoshi or clapper. The percussion instruments follow specific and repeated pat- terns relating to the length of the melodic phrases. Customary patterns involve four or eight measures of fl or A and i; on very rare occasions, five-, six-, or seven-measure phrases appear. Three low-pitched strings are used in present—day gagaku ensembles. Both the 33g33_and the gakE-so, predecessor of the E333, adhere to several basic patterns to which short melodic phrases are occasionally added. The wagon patterns remain the same as those used for Shinto music; the gaku-so patterns are either shizugaki (quiet plucking) or hayagaki (quick plucking): Figure 9.--Gaku-so Patterns. I . ~ 2. v— v« n . .ru .na Q. w. ... a a. A. A» .. . a u '11. .1 ofl¢ .ru “. .fiu — u 9v 9!; r” a . rho L. H. H. 2‘ av». L. L. . \l . h.- o u 1. C. l a u . ... o. a t v w.- ..u «-. u - . o o . .1 2. .Lu . . ..~ Ill ' s '“v goo» y... a “.4; G. «\v A. 1‘ ..a o. . r ‘lu n: .r .. 0.. m . 3 «\H s a . o. t . 28 Eta Harich-Schneider compares the patterns to the "Alberti basses of the 18th Century."8 The patterns are reiterated throughout the piece, interrupted only by glissandos or embellishments. The 3333, a four—stringed and four-fretted bass lute, primarily performs a series of arpeggios. All three stringed instruments essentially fulfill a rhythmic func- tion, marking off the sections of the composition. The music itself is arranged into two principal classification based primarily on its geographic origin. Togaku, music of the 3333, includes music from India and China, while koma-gaku, music of the Right, refers to music from Manchuria and Korea, as well as new indigenous Japanese compositions. Ordinarily the music of the 53g33 appears only in conjunction with dance (bugaku); it is never performed as purely orchestral music. The 333, incidentally, is omitted in music of the 53g33. The twelve tones of Japanese music correspond to those of the Western chromatic scale, starting on D, since D is accepted as the fundamental pitch of the entire Japanese musical system (Figure 10). In addition to the basic 333 and 33333 scales (see Figure 8, p. 22) six modes are used in the structure of gagaku music, three 333 nmdes and three 33333_modes. Each mode takes its name from the note upon which it begins, except for the ryo 8Ibljo, p. 560 +9- Figure lO.--The Six Gagaku Modes. 3O mode taishikicho on E, which is given a special name in order to differentiate it from the 33333 E mode. As can be seen in Figure 10, the three 333 modes share in common the interval of a major third above the tonic note, and the three 33333 modes contain their characteristic interval of a perfect fourth above the tonic. The primary role of the gagaku modes is to facilitate transposition. A composition begun in one of the ritsu modes may be freely transposed to another ritsu mode, although never to a ryo mode; similarly, a piece beginning in a ryo mode (with the sole exception of the taishikicho, the gy3_mode on E) may be transposed to the other 333 modes. The careful regulation of modal transposition is apparently due to the tuning difficulties inherent in the instruments. When a gagaku composition is transposed to another mode, the melody is altered; the composition, called watarimono ("music that has crossed over") actually becomes a new one, related to or based on the original melody. The melodic tessitura is consistently high, as might be suspected by the nature of the instruments entrusted to carry the melodic line. Most of the melodies maintain a predominance of conjunct motion. Figure 11, Nasori, taken from the Japan II recording of the UNESCO collvction, A Musical Anthology of the Orient, displays NASORI Tutti z :2: . " ‘ Knmabuc limhinki San-nu- tsuzumi Shéko Iaflku 3 _‘__l_ ____‘___ . .- - i saw. Figure ll.--Nasori. the characteristic predominantly stepwise melodic motion, as well as a somewhat narrow ambitus in the melodic line played by the komabue. With a single exception, the gagaku meter is binary, organized in units of two beats for fast tempos, four ‘1 r_": 6 o...~ ._‘ .-,—Jsl,'h '--- u~ ‘esa , H, ‘ “‘v- ~v ‘_ 'rhp ; :Vir. v""’~Ic.. . .. . . . Ira . ~ ..A . u w s. .‘l, P 2. a .3 o h . ‘3 ‘ E ‘ V. . ‘4 ‘ ‘-A,l_ .‘l n h -. r—n . -_" \ r‘l-‘l-r—nh I“t . s ‘4..‘ 7". .1 ..A. ‘ N u ., - 0‘ ‘f 1“ ~“ r r *..s- K. "I \V‘" V.- \’ ‘., \ V .O 32 beats for medium tempos, and eight beats for slow tempos. 1 Sometimes 2 and J meters are mixed (tada-byoshi). When tada—byoshi accompanies dance in bupaku, the metric pattern occasionally changes into alternating measures of‘ The selection of harmonies depends on the specific mode of a composition, usually based on the principal melodic notes. Examination of the eleven chords of the sho reveals the nature of the characteristic gagaku harmonies built upon particular tones of the sho (Figure 12). Figure l2.--Chords of the Sho. The chart of Figure 13 investigates the nature of the sho chords via different analytical approaches. 33 HmPCSQom cps names a; we m 2 .HH Hmopmso mum use gem emcee Em .mc a (“J m .0H H m pem as 1:; Su: revue 58:” Hdpgxsv t 1‘ o .2) S... |-—4 Auoos use aflogmsv 2 . ML r—4 Fl ya p—J maxwLozo | Law H O «HHV H N, 2p :3 .). amt... Cu]. Hour“ 3 J . 1.,» .t. use )grpo; nan .lfa J . u.» c 4 A, my y x a . n: .H \C;L u u y F )‘ N“,\ .A 00% dogs c new O :5 n. u (a, 0 Hwocnomn zoo amass was C .pp n .3.» «m HmoCSQmm HHH CE o OJ : Happen? to HmoCSUmm cps was new emeem teem: o 7.0 CE Q Hm U) od 7 Huge seme OH >) mflmzfimc< spHEmUcfim mfimzamc¢ Eomcmm poom copfim mmochMh 34 The Hanson system of analysis9 reveals the prominence of perfect intervals and of seconds, which would tend to support the assumption that the harmony is essentially quartal or secuntal. Application of the Hindemith system of analysis10 places all of the chords in groups III or IV, further emphasizing the interval of a second, and indi- cating that none of the chords are simple major, minor, augmented or diminished triads. With only three excep- tions the roots of the sonorities correspond to those sho pitches on which the chords are constructed. A traditional tertial analysis of s32 chords may be the most useful way of relating the conventional analysis of some of the Western compositions to Japanese harmony in a meaningful way. As the chart indicates, all of the chords may then be considered added—note sonorities; the minor seventh chord appears most fre— quently. The harmony apparently serves to provide a shimmer- ing tone cluster background to the melody; each chord gradually crescendos from p to f. The sustained interval of a major second acts as a type of inverted pedal or 9Howard Hanson, Harmonic Materials of Modern Music. Resources of the Tempered Scale (New York: Appleton-Century—Crofts, 1960). 10 . ‘ Paul Hindemith, The Craft of Musical Composition (New York: Associated Music Publishers, Inc., 19u5), enclosure attached to the back cover. 35 drone. Harmonic rhythm of sho chord progressions is generally slow; chords often do not change for two or three measures; rapid harmonic rhythm involving two changes in a measure seldom occur. The biwa plays drones. In the sojo (ryg_on G) and banshikicho (ritsu on B) modes, the drones ascend in broken perfect fourths to the end of the composition, ‘ . . . . ll wnen the tonic is finally struck alone. Microtone embellishments called meri—kari ("down-up") result in the strange and striking dissonances typical of Japanese court music. The formal structure of gagaku as well as many other types of Japanese music follows a basic tripartite pattern: lg (introduction)-ha (exposition)—kyg (consum— mation). The concept of jo-ha—kyu pervades single phrases and complete compositions. Gagaku compositions are placed into ' 'small, medium r large" categories, with different scales and forms for each classification. Medium and large pieces adhere to the jo-ha—kyu format; occasionally a fourth section, 31: is added between the ha and the k‘u. Small compositions may omit the intro- duction, but several compositions are often combined so as to retain the jo-ha—kyu structure. Many pieces are in the A B A form, with the B section ending on the V or the II of the mode. llHarich-Schneider, "Japanese Court Music," p. 55. Lid 0 \ Orchestral gagaku begins with a netori, a brief phrase intended to establish the mode of the particular composition, and taken up by each of the gagaku instru- ments. The 19_section starts with an extremely thin texture, which thickens gradually as the various orchestral instruments enter. By the ha section the entire orchestra has entered and the ha and kyu portions maintain the thick texture. Paralleling the texture, the tempo also gradually increases throughout the main body of the com— position. A coda, or tomede, performed by the first— chair men, frequently rounds out the structure; texture gradually thins out, and the tempo decreases until only the biwa and gaku-so remain to play a few slow notes; the hiya finishes on a tonic or dominant tone of the mode and the gaku—so terminates the piece with a tonic note. Vocal types of gagaku present a different version of the jo-ha-kyu procedure. The voice sings the first phrase and the chorus and orchestra follow on the second; the coda is omitted. Nohgaku Egg drama, an art form whose totally integrated component parts all share equal importance, has no parallel in our Western culture. No one aspect can be considered separately without losing some of its meaning and charm. Literature, drama, dance, art and music all are so interdependent that one cannot listen to the music alone and truly appreciate its contribution. Mgh_ has been compared to Wagnerian opera because of the high degree of unity evident in Wagner‘s music dramas. This is perhaps an oversimplification. Although Wagnerian Opera may aid in an understanding of nah, the two art forms differ considerably in philosophical and aesthetic principles as well as in the nature and degree of integra- tion of the artistic elements. A more adequate compre— hension of the n h aesthetic may be derived from The Twenty-Three Treatises of Zeami, written by the poet, musician, dancer, producer and theorist, Zeami Motokiyo (l363—luu3 A.D.). According to Zeami, Zen Buddhism exerts a profound influence on 2225 the teachings of Zen, its emphasis on intellectual power, contemplation and inner tranquillity, of ascetic simplicity, affect every facet of 292° Zen—influenced art retains an immense subtlety; ideas are expressed by implication rather than statement; the imagination is given full reign. Hazy, impressionistic moods of mystery and symbolism, intentional incompletion, all are basic characteristics of ngh. Donald Keene points out the resemblance between noh and ancient Greek drama in his introduction to Five Itllsf. . , - . . .. l2 . Moaern No Plays by Yukio Misnima. Both contain a chorus, dances, masks and a small cast; both rely heavily upon traditional or legendary subject matter. Greek drama, however, gradually acquired greater realism, while ngh_became a dramatic form in which symbolism pre- dominated. "Zeami and his successors wrote plays in which the relation of the expressed part of the whole is like 13 that of the visible surface to the entire iceberg." Zeami expressed the belief that noh should strive to suggest through beautiful and subtle words and move— ment the vague and boundless world beyond. Non deals with the meaningful moment, the moment of concentrated intensity of the legend, rather than constructing a play which deals with the story in its entirety and involves complete exposition, complication and resolution. Plot hardly exists in the full Aristotelean sense, being just sufficient to provide the structure for gathering and concentrating the action on the supreme moment of tragic ecstasy."lu The ngh drama may, in effect, be described also as a lyrico-dramatic tone-poem in which the text has a function somewhat similar to that of the libretto in a Wagner or Debussy opera. The significance of the action, the beauty of the verse, and the excellence of the music l2 . . . . Yukio Mishima, Five Mooern No Plays, translated,. with an introduction, by Donald Keene (New York: Alfred A. Knopf, 1957), pp. ix-x. l3Ibid., pp. ix-x. A . Kenneth W. Rhoads, "W. B. Yeats and the Japanese Noh Drama" (unpublished monograph, 1967), p. 55. 39 and singing, according to Zeami, are purposely designed to "open the ear of the mind" while the miming (monomane) and dancing (E31) awaken the emotions of the spectator and "open his eyes" to that supreme form of beauty denoted by the word ypgpp, which is the ultimate goal and the essential element of all aesthetic expression, be it dramatic or lyric. The unity of form and idea, indeed of the entire structure, is directed to the attainment of ypgpp, of the moment of spiritual revela- tion achieved through the cumulative beauty of all the elements. The term ypgpp has no exact equivalent in English; as used by Zeami, it carries the connotation of half-revealed or suggested beauty, at once elusive and meaningful, tinged with wistful sadness.15 ngpp is not the superficial beauty of the exterior but of the inner spirit expressed externally. Thus it represents the beauty of the intrinsic nature of the world. Yu means deep, dim, or difficult to perceive, and gen, 15Japanese Noh Drama consists of three volumes published in Tokyo in 1955, 1959 and 1960 respectively by the Nippon Gakujutsu Shinkokai (The Japan Society for the Promotion of Scientific Research). The series, representing a twenty—year project, was prepared by the Japanese Classics Translation Committee and a special ppp_committee, both under the NGS, with the collabora- tion of English and American scholars. Each volume, in addition to treating of various historical, aesthetic, artistic and technical aspects of noh drama in the intro- ductory section, contains ten noh aiays, COpiously annotated and with full stage directions and sketches of characters, appropriately costumed, in typical mime or dance positions at various points through the plays. (See Appendix II, pp. 361-375). The quotation cited above is from Volume I, pp. xi—xii. A‘FJ-TI I MO "originally describing the dark, profound, tranquil color of the universe, refers to the Taoist concept of truth."16 Zeami's conception of ypgpp involves a fusion of this original meaning of the hidden and subtle truth of the cosmos with the more traditional meaning of refined beauty. The art of allusion in app texts to classical Japanese and Chinese poetry lies at the root of ppp, which was written for the nobles who were trained to understand the allusions. The app stage itself epitomizes simplicity. Properties include kodugu (hand properties or "minor" properties) and tsukurimono ("artificial things"), properties that are totally or partly symbolic; these include, in addition to smaller items which may be carried by the actors, larger things such as carriages, boats, temples, all of which are constructed in the form of a simple frameWork suggestive of the article being repre- sented. According to Japanese Noh Drama, "each prOperty remains in sight only so long as it is used and is removed as soon as it has performed its function." "Necessary and sufficient" is a root-principle governing the produc— tion of noh drama. This applies not only to things but l6Makoto Ueda, Literary and Art Theories in Japan (Cleveland, Ohio: The Press of Western Reserve Univer- sity, 1967), p. 60. to persons. Noh production is regulated by consistent 17 economy. The number of characters remains consistently pared to a minimum in non. The chorus and orchestra (hayash') are separate, having their designated places at the side and rear of the stage, respectively. They do not partici- pate directly ir the action of the play and ostensibly '— do not exist as far as the actors are concerned. They serve essentially to establish the setting and create the mood, and provide continuity by occasionally explaining mimetic action which might not otherwise be understood. They subjectively express iin r feelings of the actors; they provide the poetic, emotional establishment of place. The chorus sings in unison, often melismatically, con— fined to the ambitus of a fifth. Npp costumes are spectacular and colorful brocades, lavishly embroidered in silver and gold. Movements are exceptionally slow and deliberate. "Each step of the foot and each gesture of the hand are carefully measured and stylized. Maximum economy of gesture and movement and complete restraint characterize a performance. A step can mean a complete journey; the lifting of the hand, weeping. Npp abounds in understate— l8 ment. 17 18 . . Faubion Bowers, Japanese Theatre, foreword by Joshua Logan (New York: Hill and Wang, 1959), p. 21. Japanese Noh Drama, Vol. I, p. xxvi. Zeami categorizes noh singing on the basis of the emotional nature of its various styles and compares them with appropriate poems to illustrate his classification. The first category, rejoicing and congratulatory singing, is characterized by simplicity and is considered the least important. To illustrate the second category, elegant singing, Zeami writes the poem: Shall I ever see again Such a beautiful blossom hunting On the field of Katano, Where white flakes fall Like the snow at spring dawn? Here Zeami compares elegant singing to a cherry tree; the cherry blossoms, exquisite and elegant, fall quietly. Katano, the Imperial Hunting Ground, was noted for its beautiful cherry blossoms. Since hunting is a Japanese winter sport, the anaIOgy between cherry blossoms and 19 snowflakes seems most appropriate. For the third category, love singing, Zeami writes: Lonesomely calling for its mate. He adds to the gentle beauty of elegant singing the element of pathos expressed by the yearning for a missing loved one. The cherry blossoms have been replaced by the multi—hued maple leaves and spring by autumn. Wistful 19Ueda, Literary and Art Theories in Japan, p. 62. Mn‘ 43 sadness is represented by the poignant image of a forlorn deer seeking its missing mate. In the fourth category, sorrowful singing, sadness deepens further: Even on a mountai Devoid of feelings, there grow The Trees of Sorrow.20 How much more so In the heart of a deserted lover! V3 LA Zeami says, "Nipped by frost and buried in snow, trees in winter stand with bare branches, as if mournfully recalling . Lb. ,‘ . , 0 H21 m the men and bulngb that nave passed away. ihe sadness that has merely been implied in elegant and love singing deepens here to an utterance of grief. Everything changes. The seasons must eventually lead to winter, and love must end in sorrow. The fifth category, sublime singing, is illustrated by the poem: With the years that have passed by It has grown austere and holy On Mt. Kagu.22 The cedar tree, upright like a spear, Already has a layer of moss at the root. Zeami holds sublime singing in greater esteem than any of the others. 20Firewood. 21Ueda, Literary and Art Theories in Japan, p. 63. 22Mt. Kagu is a mountain considered to be holy and to have descended from heaven. 1+2; lmpermanence, which imprisons all men and things in this world, has now been transcended. The cedar, being an evergreen tree, symbolizes permanence in nature. Being a holy tree in Shintoism, it also stands for a man who has a attained divine immortality. Sadness is no longer there because death has been overcome. There is neither the graceful beauty of elegant singing nor the cold beauty of sorrowful sing- ing; the beauty here is that of austerity, deep, tranquil and awesome. ’nd there is the effect produced by sublime singing. 3 In view of the total synt.esis of noh elements, the music of non, or nonraku, cannot be truly appreciated apart from the whole. However certain structural characteristics can be ascertained by a study of the 'i E? C 01 O P' tself. Buddhist chant and religious music greatly affected nohgaku. Recitative performed in a kind of sprechstimme alternates with the melodic style of noh singing. The songs, comparable to arias in Western Opera, bear a strong resemblance to shomyo. Nine melodic pat— terns form the essence of the tonal material, based on perfect fourths. Strong emphasis is placed on the minor seventh interval, derived from the superimposition of two perfect fourths. Secondary pitches encircling each of the quartal sonorities provide the means of moving from one of the main tones to another.2Ll The melodic progression is carefully regulated both by the text and 23Ueda, Literary and Art Theories in Japan, pp. 63—6“. “Malm, Japanese Music, pp. 128—129. J‘. K.” u . the structure of the play. Higher tones are usually reserved for tenser moments. In typical Japanese style, the vocal lines are considerably decorated with ornamenta tones, glissandos and trills, resulting in the ubiquitous mle’O‘QO PS les. One of the melodic restrictions forbids the direct progression from a higher quartal sonority to a lower one. tead, the vocal *ine must move up to a neighboring tone and then may drop to the lower tone. For example, a melody moving from A down to B will first go to a B or an essentially eight-beat rhythmic organization, although tradition allows for much rhythmic flexibility. The number of syllables sung within those beats is deter— mined by the nori (defined by Malm as "the way the poem 25 'rides' the rhythm"). The most common pppi is applied to a 7+5 division of twelve syllables. Perhaps the most unusual characteristic of the eight-beat framework is the fact that the first beat is usually tacit and the melodic pattern begins on the second beat. The ppp_instrumental accompaniment, the hayashi, consists of a bamboo flute, the nohkan, two hand drums and a barrel drum. The flute plays a huge number of 25Ibid., p. 129. microtones; the holes produce a scale encompassing the approximate notes D, E, G, A, A#, B, C#. The ppp flute (nohkan) further differs from other flutes in the peculiar nature of its overblown notes. The nohkan overblows flat; as the scale rises, each note becomes increasingly flatter so that the note C# produces a minor seventh (B) instead of an octave. The nohkan plays a variety of traditional melodic patterns, with specific phrases functioning as a struc- tural device. Malm refers to the similarity of such phrases to the six-four chord preceding a cadenza in a classic concerto; the phrase serves as a herald of what is to follow.26 Besides indicating specific parts of the drama, the nohkan accompanies the dance and regulates the tempo, adds color, mood and atmosphere. It establishes the pitch for the chorus, whose function somewhat parallels that of the Greek chorus of Western antiquity. The payashi drummers play a phenomenal number of rhythmic patterns on the three drums. Performance technique is highly developed, enabling the drummers to control not only the variety of beats and touches, but tone colors as well. The drummers periodically shout aloud, their cries serving as punctuation between the flexible rhythmic beats of noh. ‘ 26Ibid., p. 20. 47 The formal organization of noh, like that of gagaku, is based on the jo-ha-kyu concept. Noh further arranges the structure into five principal units, or Q22} these in turn are commonly incorporated into a two—act format, with four 922.1“ the first act and one aaa in the second. The la (introduction) consists entirely of the first 9229 which provides introductory music. The secondary actor (aaaa) makes his appearance and introduces himself, stating his name, rank and reason for appearing. The scene is set and preparations are made for the entrance of the principal actor (shite). During the shidai (travel song), the most important musical structure of the first dan, the waki moves and it is assumed he reaches his destination. Most dramas actually begin with the so-shidai, the "priest-entrance music." a usually serves as the basic pitch; a theory has been posed that the shidai always ends around A.27 The pa (exposition) contains three dan. In the second dan (first of the pa) the principal actor (shite) and his followers (tsure) enter. The issei and michiyuki provide the most prominent musical sections of the second Q22: The iaaaa_(first song), sung by the EEEES’ has a rigidly designed form although the rhythm remains flexible and subject to individual interpretation. The issei usually is confined to the lower and middle vocal 27 Japanese Noh Drama, p. xxvi. register. During the michiyuki (”road-going") the shite moves from the greenroom to the stage. Frequently no music at all accompanies the shite's first appearance. The michiyuki, when sung, consists of either sageuta, a short and generally lov—pitched song, or ageuta, a longer and higher song. Periodically throughout the play sashi, a kind of sprechstimme, functions like recitative, linking the more lyric passage”. In the third aaa more of the plot unfolds in the mondo, a dialogue between the shite and the aaaa. They sing separately and together in a recitative style; drums often accompany the exchange. The chorus closes the aaa with its comment in a more lyrical vein. The first act reaches its climax with the fourth gag, highlighted by the E233 and £323' The term lBZi. is applied both to the highest note of the entire drama and to the composition containing it. In the kuri, a Sprightly work with changing rhythms, the emotional sig— nificance of the plot is disclosed. The aaaa provides a dance and the mid-point in the play; the essential nature of the shite is fully revealed. The chorus performs the entire Eaaa except for a single verse proffered by the shite. At the end of the fourth gap the rongi, like the mondo, contains a dialogue between the shite and the aaal. The rongi is responsorially intoned by the chorus and the shite in a fashion similar to the Greek stichomythia. £49 The first act often closes with a choral song, the nakaira. A kyogen (comic play) or hayashi (orchestral) interlude separates the la and kvu. Near the beginning of the kyu the machuitai ("waiting song”) provides a transition to the last dan. Here the shite returns in a transformed state, often as a supernatural being. Again the issei (first song) and mondo (dialogue) occur, much like those in the first act. A dance (mai) is fre— quently followed by the recitation of a waka, a short poem, and the drama closes with the kiri, a final comment by O H.) the chorus. The musical principle jo—ia—kyu must be followed; other aspects of organization are more flexible. Nohgaku is totally linear and any attempt to analyze vertical construction would be fruitless. The flute and chorus spin completely independent melodic lines; the drums play completely independent rhythmic patterns of differing lengths. Each line, however, follows the dictates of the text, so that in this wholly unified art form, an understanding of the text is integral to the understanding of the line. Biwa Music The biwa, the Japanese lute used in gagaku ensembles, was popular for centuries as an accompaniment for narrative songs and epics. Although the instrument has been altered somewhat, its characteristic tone has been preserved for U1 C) the most part through the distance between the strings and the neck. The frets are over an inch high, and the strings are kept extremely high above the neck. As a result, the biwa can be played in two different ways. The strings may be pressed on top of each fret, pro- ducing as many definite pitches as the number of frets will allow. Elastic strings may be pressed down between the frets; this produces a large variety of pitches depending on the decree of firmness with which the strings are pressed. The twang of the biwa caused by the elasticity of its strings is amplified by the resonating body of the lute, resulting in the typical "rattle" (sawari) of the biwa tone. Music of the heike—biwa, the ancient lute ‘- . the narration o '” ’3 *—3 h h r- (U U) 0 "S K< \O i...) 0) associated with greatly influenced by Buddhist chant, and reflects the melodic characteristics previously described in the discussion of shomyo and nohraku. The percussive quality of the Heike-biwa pervades the music; drones and rapid arpeggios abound. The modern schools of biwa playing are related to the two types of lutes on which they are performed, the Satsuma-biwa and Chikuzen—biwa. Shamisen techniques have been incorporated into both styles of playing. The singers embroider the vocal lines with improvised melismas and decorations in much the fashion as did the virtuoso performers of early music, while still organized into patterns, U1 F" Western opera. The biwa is usually more melodic, dramatic and ostentatious than that of the Heike—biwa school. Some of the patterns provide extremely spectacular effects. For example, a rapid alternation between a low and high string creates a melodramatic effect similar to that More recently, t menting with biwa forms, shamisen musical styles. flavor of biwa music ‘1 rs LA remains alive of the violin tremolo. e Kinshin school has been experi- greatly swayed by dramatic The intensely melodramatic in the hands of 20th- Century bards plucking their lutes and spinning their musical tales of adventure and love. The wagon as members of the koto or zither family. ‘h 1 A zither, t w a t L‘LUQ .LC 77 ‘- KO L/ O and gaku—so have previously been mentioned The main e aa, or koto, as it is called outside of Japan, is perhaps the most familiar instrument to Western ears, thanks to the artistry of Kimio Eto who has concertized on the koto throughout the West. The koto, with its moveable bridge, can be adjusted to produce any thirteen- note scale. Actually, however, tradition has limited the variety of tunings, reserving some of them for specific compositions. The two tunings illustrated in Figure 14 seem to be the most common; additional notes are produced by pressing on the strings with the left hand. W9— :7‘" f _ +47:- Figure lu.——Koto Tunings. figtg_music (sokyoku) falls into two broad cate- gories. In kumiata the £233 joins the voice in settings of poems; each poem, or gap, of a particular school con- sists of a specific number of beats. Shirabemono encompasses purely instrumental compositions. The music is usually constructed in the form of a theme and varia- tions with new material interpolated between each section. The 1332a. the most prominent type of 5233 music, com- bines elements of both forms. Instrumental interpola- tions reminiscent of shirabemono are inserted between songs resembling those of kimiuta. Generally the liuta. is composed of three to six parts; the simplest form consists of two songs Joined by an instrumental inter- lude, and the longest form is comprised of an instru- mental introduction, song, interlude, song, interlude, and a final song. II . . . . . . o . r 1.. «A .\ s.- h. rNA NV '- vu VA . . . . . .n .L .. n. as .3 s; n. t. L. 3 R: .u .c .1 . i a. "H n. _: .c C. S 7.. a. a . E c. r. . a .7. t r. _r“ c; L. L. n“ .c r. .c ...u 44 ;. ‘r.. O. . h. .. Q, 1 r. .Nq * . 5 r” . . .1 s. . . a. .. c .u. a. r e a . .J a .9 w... a .. n-.. .t r... E a. . r” . . 4. ”J .. ._. a. n. ...n :. A o . E n. h. :1 .. a. .. a; .w‘ I“ .... i. n. _. . a. 3!. 2c 4‘ . ‘ Le me ..A .c ”an a. w. .3 5 h. r. we. a. a. . i T: 2. a. . . . . z. A. x. .. _. 3. Le ,ya x.. a ‘ a.. a. r” kn r” L. ”A r.. ..l. i. .a .r.. .u .».. .. :. Le p.. u. . u . .. n” g . .. . a v r: 1?» u... a . s u s s W- .N. .fu 3 s 53 The jiuta is commonly performed by a trio consist- ing of a koto, shamisen and shakuhachi. The koto leads the ensemble, playing the principal melodic line, with the other instruments varying it heterophonically. The customary trio may be enlarged. A second 5323 may add still another heterOphonic variation of the melody, primarily during the instrumental interludes. Two kotos may engage in the performance of danawase, in which the main Egtg_plays the original melody while the second E939 plays an entirely different tune, often a borrowed one. The Japanese predilection for using borrowed material results in a composition resembling the quodlibet of the Western Renaissance. The tunings of the 3939 outline chords resembling those of French impressionism (see Figure 13), so that the E239 has an inherent but static harmonic implication. Therefore, to Western ears the two melodies of danawase sound more like two arpeggios with a common harmony than completely independent contrapuntal lines. Many £939 compositions involve tuning changes, and different scales have been used periodically. Even the Western major scale and the Chinese pentatonic have been included in 5222 literature. Dangaishi follows much the same format as danawase, except for the unique fashion in which portions of the original melody serve as counterpoint for other parts of 5“ the same melody. Since £232 music is organized into sections (dag), two separate gan_may be played simul- taneously. One 5232 may play the first section of a melody while the second Egtg_may perform the second section of the same melody as counterpoint, before the melody has actually been stated in its entirety. Thus the counterpoint is a kind of anticipation of the second dag. Occasionally the shamisen plays independent melodic lines as well. If two shamisens are used in the jiuta ensemble, one may play a pedal—point or ostinato figure. Other E233 ensembles include the 59513, the sole bowed Japanese instrument. The three— or four-stringed EEEXE is performed with a wide vibrato, and resembles the violin when played proficiently. Shamisen Music The shamisen, most versatile of all Japanese instru- ments, appears in a variety of forms. All share in common, however, certain basic properties. The shamisen body is constructed of catskin-covered wood; the three strings are played with a plectrum that creates a per- cussive snap as it hits the strings and the catskin simultaneously. A biwaglike twang reverberates when the shamisen is played in its lower register. The shamisen is tuned in one of three fundamental patterns related to the mood of the musical composition. 55 Honchoshi ("original tuning"), consisting of a perfect fourth and perfect fifth, is considered best for serious or solemn music; ni-agari ("raise the second"), composed of a perfect fifth and perfect fourth, is thought best for happy music, and san-sagari ("lower the third"), comprised of two perfect fourths, is associated with sad or tranquil music. The function of the shamisen consistently remains that of accompanist to the human voice. Shamisen music therefore is designed to introduce or succeed the vocal line, to implement but never to intrude. The term katarimono refers to the types of shamisen— accompanied songs principally involved with narration, as opposed to utaimono, songs in which the melody is the primary concern. An ancient example of katarimono may be seen in the still extant naniwa—bushi, a style of narrative shamisen music similar to American hill-billy music, although somewhat more sophisticated. Due to the type of plectrum-played shamisen naniwa-bushi is char- acterized by dramatic contrasts of sound. The lighter and softer passages performed on the tOp strings are interrupted by violent percussive punctuations, lending a quality of rhythmic excitement to the music. The shamisen player himself adds to the dramatic nature of Béniwa—bushi by shouting vigorously during practically every rest in the music. 56 Many other schools of narrative shamisen music exist, none so prominent as gidayu—bushi, the music of the bunraku puppet theatre. For the Japanese, gidayu— bushi represents the zenith of katarimono. Gidayu musicians sit on a platform next to the stage, and depict with all the instrumental, vocal and physical resources at their disposal the drama enacted by the puppets on the stage. The jorur128 reciter narrates the story, chants, cries, whispers, roars and howls all of the dialogue for the characters. He sets the mood of the play. He recites energetically if the scene takes place in a city home, tranquilly if in a rural home, vivaciously if in a teahouse, and mysteriously if in a forest. During emotionally-charged moments he may dis- play symptoms of obvious physical distress and even weep copiously. He must be able to vary his tone for the different male characters and perform in a falsetto voice for the female roles. In fact so great is his importance that his rank exceeds that of the puppeteer.29 The shamisen shares an equally prominent position in bunraku. Not only does the shamisen accompany the Joruri reciter; it also provides the illusions of atmospheric conditions and of moods to augment the 8 O I Generic term for narrative shamisen muSic. 29Shuzaburo Hironaga, Bunraku, Japan's Unique Puppet Theatre (Tokyo: Tokyo News Service, 196H), p. 3. 57 dramatic implications of the scene. It directs or impels the reciter's vocal line with just the apprOpriate com- bination of patterns and colors to create the exact impression of mood or situation at the appropriate moment. Gidayu-bushi music, like that of the biwa, is com- prised of numerous fixed patterns. However, the patterns are treated with greater freedom, and the instrumental interludes occur more frequently; also the dialogue passages display an entirely independent treatment. The bunraku puppet drama itself is constructed in five principal sections. The music fits within that framework, although quite flexibly, in eight sections. Each section serves a specific function in fixed order within the drama, although occasionally some of the sections are omitted. The 953_establishes a mood, or sets the scene; the michiyuki introduces the characters; usually the kudoki poignantly emphasizes the heroine's plight; the monogatari is the section during which the plot reaches a high point; the uta ("song") and odori ("dance") provide the most important parts of the play; in the miarawashi the principal controversy reaches its climax, and the denouement takes place in the chirashi, usually tragically. The music aids immeasurably in building the dramatic intensity implicit in this format. 58 In contrast to the dramatic nature of katarimono, utaimono displays a gentle, unprepossessing lyricism. One of its still popular forms is kouta (short songs) which, coupled with romantic poems, manifests an unabashed sentimentality. Its intimate nature is heightened by the softer, mellower tone of the shamisen created by plucking the strings with the fingers instead of a plectrum. Nagauta Shamisen nagauta ("long songs") reigns as the most important form of lyrical shamisen music. Since the-18th century nagauta has become the principal adjunct of kabuki theatre, as well as a pOpular form of music for both the concert hall and the home. Much of its character was derived from the music of ngh_drama. Yokyoku, the £22 vocal music, was incorporated into nagauta, although the shamisen itself was unknown to noh orchestras. Forty-eight patterns provide the melodic foundation for much of the material used in introductions, cadences and recitatives. Figure 15 depicts a few of the tradi- tional patterns appearing in recitatives. The melodic curves visibly resemble dramatic vocal inflection; the kimonji pattern even displays a kind of sprechstimme. The melodic patterns alert the educated ears of Kabuki audiences to sectional endings in much the same way as the Figure lS.——Nagauta Recitative Melodic Patterns. the familiar cadential patterns of the common practice periou inform Western listeners of a terminal point. The non hayashi, consisting of the hoh flute and drums, join the shamisen and singers to form the nagauta ensemble. Additional drums often augment the group. The voice, shamisen, and occasionally an addei seven— holed flute convey the melodic line. Typical noh rhythmic drum patterns can be found in narautx, but more 0"- - 4~.1 ~r' ry '2 ‘ ‘r,’ " fiw~rv . . 9‘ ‘- . v. : - 01 LI :1 «he 1 -U01dbululuL and n0— JOLAOLAr-‘l , Lane LIV-O li.-LLn nbh (I) drums, play rhythmic patterns closely allied xith those of the sharisen. The close affiliation between the n23 flute and taiko drum apparent in ggh remains evident in nagauta, and these instruments function as a separate entity in relation to the rest of the ensemble. Except for a com- mon general rhythmic framework, the taiko's rhythmic patterns bear no kinship to those of the snanisen or the 60 other drums. The flute plays a totally independent melody which has no relation to the tonal center, thematic content or melody of the shamisen and whose only connection with the ensemble lies in its identi- fication with the Egikg. William Malm extends a provocative theory as to the function of the nohkan and daikg unit. Harmony, in the accepted Western sense, scarcely occurs in nagauta. Malm suggests that the independent unit of flute and drum fulfills the purpose usually afforded to harmony: that of lending color to the melody, and of implementing the elements of tension and relaxation inherent in the ebb and flow of melodic motion. "Through its contrary rhythmic phrase lines and independent melodies it sets up tensions which drive the composition forward in the same way that harmony pushes Western music to its "30 Malm further maintains that the bitonal cadences. implication of the nohkan melodies and the substitution of an independent melodic and rhythmic element for harmony may well prove to be one of the principal Japanese contributions to music theory and practice.31 The formal structure of kabuki-related nagauta consists of six sections not unlike the gigayu form of the bunraku puppet dramas. As might be expected in 3OMalm, Japanese Music, p. 207. 3lIbid., p. 208. ‘ H‘..-» ‘- yak ‘ 5,- 3 -.. -.. ~fl;; -. ""‘s .‘v...‘. V ‘ D ‘fi‘te—_. . f “"\-‘v.. “. , N c..- _, —. 'fi’a- _- fi‘ , .""""'-..’ ”V. "‘§. . ‘_ -- ~< ,— “'5 a..- V l‘ V -_ ‘ ‘Q- ., V“du .. L ‘§ ‘~ " .4“ .~ _ ‘ -_.'~ a U4 .. *‘w.’ 'n "‘~ "" u-, s ;"‘ ...,—, w .‘o. A V‘ . '-\ .., _ "‘u ~ . r \_ ." v “ .. "" ‘- pa ‘An. -_ P ‘ V» . ‘ —._- x \H -A ‘ A..4 .‘ - , ‘. Q , .~ I — ,7 "v‘. is ‘ 5- ‘ V.“ ha - V‘ ’1 r l“ 61 music so inextricably interwoven with drama, tone painting abounds in nagauta. The stereotyped musical patterns that appear frequently in much of Japanese. music, and are associated with specific moods, emotions and atmospheric conditions act as leitmotives through their ready identification. They are used with greater freedom in nagauta than in gidayu. The gki sets the scene and mood; recitative may predominate, and sometimes an instrumental prelude sug— gests the atmosphere. As in n2h_drama, during the michiyuki section the actor makes his entrance from a ramp onto the stage. The naeauta accompaniment is related to the actor's personality and his particular behavior upon his entrance. A musical interlude is generally provided. The gentle kudoki section, originally intended for the dance of female impersonators, is characteristically simple and reserved. The drums associated with the pre- ceding michiyuki section are usually silent. Again a contrast appears in the livelier odoriji (dance) section. As in the noh dance sections, the taiko drum plays a vital role. The shamisen tuning is often changed in the odoriji, and the flute may join the shamisen, but a whole step higher, resulting in a clashing bitonality. The chirashi (scattering) is afforded the greatest freedom of any of the sections, but the tension visibly builds and the quickening pace foretells the imminent finale, the dangire. In the last section the entire ensemble enters and the dancers assume their final ti n U) . The various final cadential patterns provide '0 F“ C) OS amiliar a signal to the audience that they applaud H) 0 (fl even before the drama has ended. The jo—ha-kyu concept (introduction—breaking apart-climax) described in the discussion of n9h_is inherent in nagauta as well. Generally the first two sections are the lo, the next two the ha and the last two the kyu, Nagauta form is not rigid and much freedom is exercised within the formal boundaries. Some nagauta follows an entirely different formal outline, especially when it is composed specifically for concert performance. Often these pieces are organized into vocal segments separated by instrumental interludes. The interludes provide an opportunity for consider— able tone painting. The music frequently imitates sounds of nature or depicts the moods and atmospheres of the different seasons. Another type of shamisen altered to play an octave higher is often added during the inter- ludes; it either decorates the melody or supplies a supporting drone. Shamisen music seldom manifests the techniques of development inherent in Western compositions. Instead nagauta displays a "sense of progression within formal 63 bounds, a restriction of thematic material, a premeditated psychological planning, an awareness of the value of changing tone colors in the ensemble and attention to the L 2 general mood of the text.”3 Other Kabuki Music The Japanese word for poetry is uta) which is also the word for song. This mutual identity characterizes not only so—called "primitive music" (verse), but continues to complicate and diverge in various traditions for many hundreds of years. Perhaps the strongest and most inter— esting distinction between Japanese and Western cultural tradition is that the Japanese have art wnereas the Western tradition has arts. The various aspects of the work of art, even in its most complex expression, are more than integrated; they are all part of the same organism.33 Kabuki, ’apan's principal theatrical form ever since its inception, totally integrates the arts of music, dance, literature, drama and the plastic and graphic arts. Faubion Bowers refers to the omnipresent unification of the arts as representative of the Japanese traditional comment that "art is the palm of the hand; the arts are the fingers."3u Although nagauta serves as the primary musical accompaniment to kabuki, it is by no means the only one. Kabuki borrows freely from other musical and theatrical 32Ibid., p. 211. 33Sharon Rhoads, in a letter from Tokyo, Japan, February, 1968- 3A Faubion Bowers, Japanese Theatre, p. 117. forms, including bunraku puppet plays and their gidayu accompaniments as well as a variety of narrative and lyric shamisen compositions. The nagauta musicians usually sit on tiers at the back of the stage. When a composition borrowed from bunraku is heard, the gidavu singer and shamisen performer are often seated on the stage. Sometimes, however, they play in a backstage area, hidden by a curtain. They resemble the Greek chorus, commenting, establishing the scene, and expressing the actor's thoughts. Some of the most intriguing kabuki music comes from a room behind the stage flat. There the geza musicians, the performers of kabuki off-stage music, supplement the music emanating from the stage with noises, sound effects and signals as well as music. They are flanked with a profusion of percussive and melodic instruments. Melodic gggg music, like all other kabuki music, is dominated by the snamisen. Behind the scenes the shamisen serves specifically to create moods, to establish the atmosphere of a place, an era, a time. It might, for example, play a melody evoking an aura of dark mystery, then imitate the sound of a locust, thereby communicating to the audience both the environmental and seasonal background of the particular scene. Geza shamisen music frequently supports the action or dialogue, and seldom includes vocal passages. 65 Occasionally snort, simple songs appear in meditative or gently melancholy scenes, and the lone voice heard drifting in from backstage can be extremely poignant. The ngh_fiute and bamboo flute provide the other principal geza melodic instruments. The audience hears (‘t V >- e nah flute, especially at the start and end of a play, as a reference to the non drama from which the play- stemmed. Or the nohkan may be played to represent court music because of its resemblance to the gagaku flute. The bamboo flute appears primarily in ensemble sections, seldom as a solo instrument. The koto, kokyu and m hakuhachi may be needed in specific plays. Since the kabuki musical organization does not include full-time shakuhachi performers, the bamboo flute substitutes for the shakuhachi whenever the particular color is required. The geza percussion section includes a wide and exc ting collection of drums, gongs, chimes, bells, s and a miscellany of other F?! castanets, xylophones, cymba tuned and untuned percussion instruments and noisemakers. The large drum, the o—daiko, dominates the ggga per- cussion section; its principal contribution lies in the development of atmosphere. For instance, certain o—daiko patterns represent the abstract conception of wind and rain. It should be emphasized that they are not intended to be literal imitations of real rain or wind. The wind patterns may be used when no reference to wind is intended I‘I --- up— O\ C'\ but perhaps merely the chilling quality attributed to wind, suggested by the icy glance of a thief peering in through a window. Certainly a thorough familiarity with the music nd patterns is necessary in order to truly appreciate §£32,mUSiC, or indeed all of kabuki. Malm comments on the striking parallel between the Wagnerian leitmotive technique and that of kabuki, established one hundred and fifty years before Wagner. In both cases leitmotives represent people, situations and ideas both on and off the stage. Tie leitmotives, signals, sound effects, borrowed and changing musical idioms of kabuki all are blended in with the extra-musical elements with a complex— 35 ity and subtlety scarcely approached in the West. :1 L1 olk Music Despite the centuries-long virtual isolation of ’apan from Western cultural influences, Japanese folk music more closely resembles occidental music than does any other indigenous music of that highly individualistic island. It is as though the common people of East and West share a universality of thought and feeling manifested in their simple folk music. , Japan enjoys an extensive and heterogeneous heritage of folk music. The festivals and folk songs of 3'5Malm, Japanese Music, p. 224. CH -\1 neighboring communities may differ considerably. Never- theless they tend to share certain characteristics and forms. All Japanese folk songs are based on the ya (similar to the Dorian) and in_(similar to the Phrygian) scales, and may alternate freely between the two. They may modulate to ya and i; scales starting a fourth or fifth away. Often the notes of the scales remain unaltered but the tonal center is moved up a fourth or fifth. Furthermore the yo and ii scale have a number (1] of altered forms. Thus it is frequently difficult to determine the modulations within a song. Certainly a "reat deal of freedom exists with reference to the tonality of Japanese folk music. Some songs changing from the yo to the in scale retain characteristics of both in a fashion not unlike the melodic minor of Western music. Melodies tend to stress the notes directly above or below the tonic. Folk songs usually begin on the second or fourth note of the scale rather than the tonic. Often the melody reiterates the second and fourth below tonic before the tonic itself is clearly expressed. The third below the tonic frequently functions as a leading tone, moving directly to the tonic, especially in the yo scale. Tones a whole step below or a half . n r-- -» \vg'v- ._¢ .¢&~—~o-b‘w- .n.. v -oob - - .1 ._ .. v-..-’ a-v-- “_ . _'_ ,- c ‘ ‘--'v ..Av-v.4 .. ‘ ‘. ~- u... ' "VU-.. .,~ .,. . - l _ ‘ -.. \Q -“U\— —-.‘4 k '4 rich. h‘ - "" .'- l "Qy ‘—‘ ‘ ~."‘v“ ‘1 U . t . r - h..- .- _ . _ Vv‘ ‘4 i — V ‘ u- a «. “--‘ i I ,~‘ V" r s“ ‘D.’ a,‘, «. ‘- C i“ - V. n- ‘ " .‘s‘n ‘ , ‘ ‘ v l l ‘v -I-. ‘- -. J p . «‘ .k-l \ V‘. “ .‘_ , v.‘PA - _ . y . “ ~‘ “‘ “_~ v _v.,_. _. e V . , ‘4 ‘~ 5 Q ,. -- l s ‘1 .,‘_;‘l ”i s ‘- _\ , - x) a c .. ‘4.‘~r y. -..r“ ‘9 68 step above a particular note characteristically act as neighboring tones to that note. The rhythms of Japanese folk music adhere to simple time, although each beat may be subdivided into triplets. The musical form, too, is most often simple binary (AB) or ternary (ABA), set to poetry commonly arranged in the customary lines of 7—7-7-5 syllables. The shamisen and flute provide melodic ins rumental accompaniments, and the relatively simple rhythmic background is supplied by assorted drums, rattles and gongs. Shamisen accompaniments may lend rhythmic vitality to the vocal line with their heterOphonic variations on the melody. Or the shamisen may reiterate a drone or ostinato over which the voice can improvise freely. Folk dances and folk theatre also retain great popularity in Japan. The folk dances are closely allied with folk songs or, in the case of ceremonial dances, with the ceremonial music or instruments. Folk theatre imitates in a more naive and amateur fashion the profes- sional theatrical forms they emulate. Thus folk puppet shows, country Qgh_and country kabuki follow much the same format as their professional models but display con— siderably less polish. However, the extraordinary rapport established between audience and players amply compensates for the loss of refinement. /' H’r‘s H\v v v n vfi v'v-fi ~ 1'“ O PETA. MLNNIN‘S ”A Soho OF Tn; PALAC2"3 In response to a commission by the Juilliard Music Foundati n in l9A3, Peter Mennin set a group of four Chinese poems for a mixed four-part unaccompanied chorus. The text was taken from ”The Jade Mountain," an anthology of poems of the T'ang Dynasty (618-906) compiled by Kiang Kang-hu and translated into English by Witter Bynner. The group Opens with "A Song of the Palace" set to a poem by the early 9th—century poet, Chu Ch‘ing-yu: Now that the palace-gate has softly closed on . its flowers, Ladies file out to their pavilion of jade, Abrim to the lips with imperial gossip But not daring to breathe it with a parrot among them.37 Me‘ody The tonality of "A Song of the Palace” is vague and implied scale possibilities varied. For example, in the first section encompassing m. l to ll, both the tonal 36Peter Mennin, A Song of the Palace (New York: Carl Fischer, Inc., l9A8). 37The Jade Mountain, translated by Witter Bynner from the texts of Kiang Kang-hu (New York: Alfred A. KnOpf, 1939), p. 24. 69 70 centers and scale implications change frequently. M. l to 2 suggest D Phrygian or A Locrian; m. 3, Eb minor or Gb major; m. A-5, F# minor (Gb minor) or A major; m. 6-7, A Phrygian or E Locrian; m. 8-lO, Bb minor or Db major [Example 1, m. l—lO]. Section 2 (m. ll-37) is primarily A Aeolian, with touches of pandiatonicism. Despite the nebulous tonality of the separate voices, their combined sound results in a rather strong suggestion of A Aeolian. This is due, to a great extent, to the frequent formation of the A minor triad and A minor—seventh chord as well as the A pedal-point in the bass (m. ll—l2) linking sections 1 and 2 together38 [Example 2, m. ll-37]. Section 3 (m. 38-67), which essentially repeats section 2 on tonal levels a whole-step higher (with inverted counterpoint), presents similar tonal implica— tions. Emphasis in the soprano on F#, especially in cadences, implies F# Phrygian, although it could con— ceivably be in D major or B Aeolian. The alto suggests D major or B Aeolian, and both the tenor and bass are equally at home in B Aeolian or F# Phrygian. The cumula— tive sound provides a more apparent tonality of B Aeolian, again probably because of the resultant chordal structure.39 38Measures l3, 16, 21, part of 22, 2“, part of 26, 28 and 31 all form A minor chords. 39Measures 39, Al, A6, U9, part of 51, 53 and 56 all form B minor chords. 71 Example I, m. l-lO ’ Lively (J = ms) ”1’ ___..... ‘ '- - j 1’ ar— ,L_ E— ; _I _( —, bupruno gain 11 L g 31-253 7 On its "“[ “fl“. - r a A %‘ L i E'W r 1 j i‘: 1 MW Ee=..‘==.= * l D If Fri, - No»; that the paLacc gate has soft.ly____ closed... on its Ill 50—3.”- - --I 1 L _Lv l r) Tenor 23.; E fie 1' i “I . {m 1 I: e — 5' On its . I 4' 5 I, m 4 A L A. I - 9". if t 3— I—IL m—Y rm £5353 :-" "— _-—---— A ,, } ff: , j K, y r ,' 1 - W— I 4 Now- that the paLace gate has soft-1y... closed... on its Now- that pai- an: {311: 21.1» soft- I}! tinsedp. Now. that the pal-ace gate- mitt"... has soft- I) .. close-(1,- 1.... A t v% . ;~}-—rL-— flow- ers, Now- that the pat -:we gate flow-ere, Now- that the pal-ace gate- fii~‘f: 0 J A J A‘ 4..., [1 4i i fit r1 It?" 59—”, a 1% J. ,L 3& r ,L _— ; soft-1y closed on its flow - _ has soft- ly_ closed,has softLIy ( A A L H% n A: i :3 __r r. soft-1y closed on its ‘flow - A . 5» a_;—:=v—::E:—w 4 u ,“ ___.. has soft-1y- closed,has soft-I __ t A '1 o’ ' zlosed,Nowthat the pal-ace gate has fill V M a- :yur r :8 (W :losed '1 0 ”UV ‘ .__.¢==:r::::::'::: L " ‘P—i i x A x - ‘, 1:1 i *1 It I - I T i - l l' LL 1 r I I I :1 J Now that the pal - ace gate has 5 J '— 1 l A V — *1 H1. str— arm-rs: elixir Tc fi- ll 1 A TT ‘1 l -1 4' r fit I ’I' fl .7 v .1 - v v Q closed, Now- that the pal- ace gate has closed h L A ' '- t A I I K V Y — I \ j A ‘ WA: ll ll '1 .l 1 l r \ I] A v T J '1 A r 1 y r v \— V T V ' that the pal-ace g ate_ has closed, _ Now- that the pal-ace gate- "D: r t J. rr } ,l l : 1 [ELL ' .1 {Ir 4. ‘r i - J 3 on its flow - ers, on its f::::::::=:==e....___. .1 n . p A In— l ' T _ll‘r J - 7— ' A A ' 4* 1 ' J I I1 I H 4 l A ‘fi T r l l L j ‘ V j :01! - 1y cleave, Ufa/L‘H'I; I I===i ""‘ 17 x 1 its flow- ere, La - dies file_. Out, A ~ brim- to vv the lips,— p~ , A- brim__ to the lips,- I.-- .1va” x .4... .It fig ‘, 3.44.731- - thumb-Cow \MNKN . Example 2, Continued v: v ' _ Now. that the pa}. ace gate has closed 6 L A A 5 L _ A r ;1 V '1 f r ; 1 \—' 1 '1 ;I that the pal-ace gate-_- has closed,_._ Now- that the pal-ace gate- L + ’ 1 ' 4' E 'R '. . . . to the lap: wnh 1m — pe - "n31 of jade, .\ )1 Lin; its flow. ers, has closed, Now _- I/f .s WIN-til gos . sip, La-dics filc- out, A - brim _ “ __.T'%— La-dics file- out, A - brim to the lips, that the pal-ace gate- 714 Example 2, Continued \. . La- dies file... out, A-brim to the lips, A - brim- to the lips, \- . . . \— La- dies file... out, A-brim to the hp», A - brtm- to the hps,Na\v.‘. Lao dies file... out, A-brim to the lips, A- brim- to the lips, M "\ La- dies file.- Out, A-brim to the lips, A- brim... to the lips, 75 M. 59-61, in which all of the voices sing in unison, might be considered in E minor, possibly modulating in m. 61 to A minor. Another modulation in m. 6“ seems to move to Eb major (m. 6M-67) although the soprano and tenor could imply G minor [Example 3, m. 38-67]. Section u (m. 68-77) literally duplicates the first section [Example u, m. 68—77]. In a rearrangement of the material from the second section (see Example 2), section 5 (m. 78—90) again suggests A Aeolian [Example 5, m. 78—90]. Soprano and tenor voices double in two statements of the soprano melody of section 2 (m. lM-20). The alto twice repeats its former line, first sung in m. 10—19. This time it phrases simultaneously with the SOprano and tenor, instead of having preceded the other voices as it did in m. 10. Only the bass in m. 79—81 sings material at all different from that of section 2, and even that is followed by a line imitating m. 18—19. Section 6 begins with an A minor triad and appears to retain the A tonality. It contains only three accidentals; the F# in m. 92 could be considered a lower neighbor or a note in the melodic form of A minor; C# and G# in m. 99 serve as part of a deceptive cadence on III of the parallel major; D# and F# of the B major final chord act as a modulation (V of E) to the next composition of the cycle, "Crossing the Han River," which begins in E [Example 6, m. 91—107]. 76 Example 3, m. 38-67 (a P l i 143,74 1 L A A V n ‘1’ ' I — x x 1 I x n x II x I 1 xn' —f Vx 'xT‘UW " - tar x In- ‘7 - I ' L.‘ v Iul j v w W Now- that the pal-ace gate has closed »——-p A ,_-._.-__ J A l I 1 l 1' I ~— 1 l a a s7: 1 1‘:;:q* i ; vv‘4+—a 4* 3% e is; U _. r '1 #14! "9) v f v, ,v Iga oT 7. that the pal-ace gate_-_ has closed, Now. that the pal-ace gate- a "if 1' r I A 1 - r _ A H ‘ A I r ‘ 4L 1 I F " V I A - X K L 1' A L l - I l 1 r r Y I — r NOw that the pal - ate gate has P I L J r fir T T j on its flow ers, on its III/a 71/1 [In '— R-‘———t ‘5‘ __ 9‘ a A I x -- A L M WWMMW ‘7' f ‘ V v tv v , 1. 7 its flow-era, La- die: t:1e_ out, A - brim._ to the lips,— _l V _ has closed, Now Z ::m:+——— P X 1 4‘] J- l n I I I) -L A I I ‘n - r I A v, r v 1‘ j I X 1’ ~ L] v fl r V soft - 1y (IOMJd. I .\ Iii/I [If [I I ‘A K r. t A ~ n, 1 , a , W ‘~ . ,. ,, , f.ow - crs, La - mes tne_ Out, A - bum. to the lips, - / n ___,___-_ _--:T‘.‘ - p l K a In L \__l _— L ‘ K A [##J l A If 1 A ‘T - -T 1 IL 1- .a- _l r I V .a-I v __I V 1'! O 1‘ _- Now_ that the pal - ace gate has n I L L #1 A L L K k‘ L X f A " 1} r L1 '1' i '3 :1 ‘ I ' - that the pal-ace gate___ has closed,__-__- Now— i _ i — 4 fr ; 4.- 4?: é a #4. T l 1 \ ‘__‘-l V v ' La - dies hh: _ out I l rm A -__I L 4 “'1' I - .5 ___J J r 1 L A; v I Lfi v Exampl C) LA) 0 Continued mfsubt‘to H '4.) HHF‘J ’1'), ’ 7 , .4 Ifl go has closed, .. :r f.) :4 «4 :I‘ 0 pal - ace gate . . ‘ ‘3‘ A 1%? t-we-xw=vn 5; closed on 1t: flow- ers, La- dxes {11e— L; A f . . t t t E, a .5 44 r I I 3' “L3" ' ' v\ / i I b I ‘ I L5; ‘L‘ r at t x 1 __ -r 11 r - T121 1 I ‘1 LI' v r T ixvl I I 5 ar‘ 1I v - 7 - W ‘ V ___.. to thexr pa. - v11 - ton of Jade, _ m . b ‘to . fxu 1 ‘ .1 _ . 25$ 3 : Wfi IL; 7 4 1'— fi ! ' T \ pc - 1131 gas - 51p, La. - dtes ftle _ ”4.. 11 j 5“ 1m ”gar—1553‘ . \.E? the llps, Now- that the X L A L L I a x a, i i : I .37 ¥’EEEE§3 i’ gd' " .1 't ,- v “4 that the pal-acc gate -.A_. has closed, f x”‘\ a- i w a = -’ 1:7 ; 3 L r u L _,_ L :r i 1 L r #1 x fir fi A - brim.....- to the I" J A x' filzl; ‘ l v A TVV—I 4 - L 1 E to the 11p: creme. ——'—’ *_-*"—"' _-_ f > r} A A L L x I 1 I l_"‘ 1 IL x j ,r, m R J -‘ it ‘ W V l u- l ' ILIJ 4 ‘rr 77 J V w . pai- acc gate has closed on_ us— flow - ers, A (31180. _71 1.," ___.— f > 1 L If 41 l ' "A § 1 L ‘ k \ ‘L ‘1 " § t ; Pr 3;“. .' r ‘ ‘7 4". J‘. ‘%.T TiLéLgr rg‘Tdfif . \;3 ‘ Now_ that the pal- ace gate__ has cloae , ’ " A u > r r - I l 1 l r K H 1 I .1 r r 1" - wtth - stp, > 1 o I Y Y A j X A I H k 1 I V A 1 I I fl . v 1 I‘.‘-r_v“p‘ D a I“- -4.‘5(1.Au.L/-L. "I , \ UA‘L/oé file -___ brim La - dies file... out, A - brim__ to the lips, but r] ‘ A l > 1',","".'1’: :22“ - - -- - +__.:-- “___.....fi ; d {,L l 1L1: g ‘1", __ - +.__._.. . __AV .1 A 2.23—— ___..... r: A A 3%} fl p g t / f r r 3;” , ‘ 3; car - mg not to breat:.e 1t, _ but S. E: Q _..._____:':: >- ‘ r _ Y I a __i *§"~--*:-r A *— JL 1‘ ¥ 1 1 A A A A‘w—r— 1 L 1“ JV ' v Tva 7' to breathe it, ...__.__ but V--_. > 4‘ ‘ *_#—- A _1 a“--- “-4 ‘_ “is-.7 L A L at: g 12...?” V3 1 _1'. 1 A _1 f f {A I ) V— . ' to breathe tt, ._ but 1' ‘L A A > -—-;—— L—fp t “E 1‘? j I L L—~ 1" 1 rm T J ‘— T j Y ‘lf 1 to breathe tt, ___..”... but / q ‘ :- > >- breathe > breathe it, > \ I‘ b reat he >- dar - ing not to breathe it, 79 Example u, m. 68-77 On its flow- ers, V pal - ace gate has soft « 1y closed _. or. its flow- ers, ‘2 ,:=—— flow- ers, pat - ace gate has soft - 1y 'closed _ on its flew- ers, 1/ fl af— fl 9‘ t‘ / “ 7 v A I V- - ‘7‘.“‘117 I I? _ __F—‘L A - *h’ I r a a Now that the pal-ace gate has soft - 1y closed, _ 50ft 1y closed 1 ‘1‘ 5. “ . f‘ h 1 4—4 .41....“ -—r W152] Y 7 that the pal-ace gate -_ has soft-ly- h . t A A / 1“ t L j 1‘ IX 11 ‘ la 71;“ :X : I- l v [v I I 1r I ‘11 \f I r r New that the pal-ace gate has soft-1y closed,__ soft Iy closed .2 ex 1.- .Ath "’ n1“..— 1 t r —. - w r q l H T J]. i I'#] — l r J - A 7 IT A r I! 1 tr #1 II ‘ 1 A r f K 1 11 )7 m .1 1 1r 1' z E K ‘ I J 1 J r 1 J, V l N Now that the pat-ace gate has soft-ly— Example h, Continued closed, has soft - 1y closed, has soft - 1y ._ Example 5, m. 78—90 closed,Now that the pal-ace gate )- that the pal \. closed, Now __ has soft - \i ciosed on its flow- ers, La - dies file... that the pal- ace gate has closed, La - dies file__. that the Now \v out, A - brim to the tips, Now that the paLace gate has Now that the out, A - brim to the lips, Now 82 Example 5, Continued V closed ' flown-em, La - dies file gate closed, f that the pat. ace gate ‘ 7 \v out, A - brim- to the lips, out, A - brim._ to the lips,— has closed, La - dies file- 83 Example 6, m. 91—107 well drum: (and 11: L l 1 7' E '1 J l E 1 A -brim to the lips with im- ’ Y their pa-vil - ion of jade, A -brim to the lips with im- A - brim to the lips with im. 132$ their pa-vil - ion of jade, their pa- vil — ion of jade, A - brim to the lips with im- at > A > 3 - -’ ‘. - - A I 1’ - # r - I H J r' I P! - H n I ‘7 r A L I I II I. l I 1777 7 I X 1 A I I I J + r x T I I u If 1 1 1 r 1 I .1 V I if ‘[ 41 1 x -L J I If T 1 l pe - rial gos - sip, but dar- int: not __ to breathe it, A 1 . > > >- > L L j r L l J I 1 l‘ A J l I T I l ‘r\ I l I I L L I I A - 1 I - l -4 A K ‘1 A l 1 1 I I - J [1 J1 *1 l -v v I v 5 I d '1 l 11 4% J ] pe . rial gos - sip, but dar - ing not to breathe it, > >A > 3 A A/ “ A ‘ k 4 11 1 - 1 n r n x n - TV IL J i j :1- l- 1 - I. l 11 x 1 [I 11 I! j J I 1: J. 4'1 gi- % 3L; I i i ' r 7 1x vi £1 v' 4 4: pe - rial gos - sip, but dar- ini: not to breathe it, A A 45 >/-\ > > - A R gfi‘ E x x. } fl .. - i - I E J ‘1‘ {Li ,47 Le a i E i a T’ i if ? a!” ' 4% \ . . ' ' ', . pe - rial gos - sup, but dar - mg not to‘ breathe it, 81; Example 6, Continu a a» A ff a 0%» :;3’ *if’ i 3 § 4% I: g r E i f W1 A r ‘r _‘1 TI; i I L 1 1 I I I T f T par - rot a - mong them. " ~ m _ 2» fl):- > >—-=: 'I ; f r 1 4_ _1 7‘ L f 1 L l I T l I _V‘I— 1 J W 1 A 1 4.4 I j l Tr Y A” V W par - rot a - mong them i A A W) 4L 4: -”> L > L°>-===: .e-. V ' l T (A T H!) _2 , 11% e 11 1‘ SF l r' 1‘ 45' 3 I h $— I .5: I YL par — rot a - mOng them ._ m :3- /'_-\ .lv/ _ :1“,- % ‘_«.—.—- *% Pi 7’ § {E —35 1 ¥* } i: 4n %& + 4r r : i e ,I 3 par - rot :1 - mong them. 85 The vague tonality is furthered by frequent unison or two-interval simultaneous sounds. Also, due to the polyphonic nature of the piece, individual voices may be heard in different modes at the same time. An example of such multi—modal implications may be seen in m. 37—“2 (see Example 3): the alto and soprano might be in D major or F# Phrygian, the tenor in B Dorian and the bass in E Dorian. The melodic lines progress in predominantly step- wise motion.“O As a result, the harmonies suggested by the melodies remain somewhat indeterminate. Although harmonic implications can be found in the melodies, there may be several possibilities in each case, any one of which would be as valid as the others. Because of the indefinite tonality, modulations are equally difficult to ascertain. Since there are usually several tonal possibilities in any given section, any one may be considered valid as a new tonal center. Thus the decision as to the interval of modulation, and in some cases the decision as to whether or not a modu— lation has actually taken place, remains largely subjective. The melody frequently stresses notes directly above or below the tonic. If section 2 (Example 2) is assumed uoConJunct moves total 779: soprano, l62; alto, 237; tenor, 169; bass, 211. DisJunct moves total 231: soprano, 57; alto, 62; tenor, U9 and bass, 63. al 86 to be basically in A minor, the emphasis on G and B may be noted, with the two tones encircling A in the s0prano cadence of m. 17-18; similarly in section 3 (Example 3), a whole-step higher and therefore presumably in E minor, C# and A are emphasized and B encircled in the tenor cadence of m.u2-N3. In m. 81-82 (Example 5) the s0prano and tenor cadences on A again reveal the encircling G and B. The melodic lines also resemble Japanese ones in that tones a whole-step below or a half—step above a note often function as neighboring tones to it. This is due primarily to the predominantly conjunct nature of the composition and to the structure of the first phrase, which includes a motive containing an implied lower neighbor. When the motive (Eb—D-Eb) appears in the alto and bass voices of m. 20, the original half-step interval is enlarged to a whole-step, E-D-E. In m. 32 the D in the soprano and the F in the alto function as lower neighbors; the E-D-E motive is stated in all of the voices in m. 37; other examples may be seen in the soprano and bass of m. AS, the soprano and tenor of m. 57, the alto and bass of m. 90, soprano of m. 91, alto and tenor of m. 93, and in the alto of m. 95. Three motives provide the material for the entire composition. Motive 1 (Example 1, m. 1) consists of the interval of a perfect fourth and a small stepwise scale 87 pattern stated in even eighth—notes; motive 2 (Example 1, m. 2) has a lower-neighbor pattern arranged in two sixteenth-notes and a quarter-note. Motive 3 (Example 2, m. 18) actually is itself a derivative of the other two motives, consisting of the short scale passage of motive l inverted and of the rhythmic pattern of motive 2, two sixteenth-notes and a longer note. As in shomyo, the motives are sung individually and then combined. Motives l and 2 are introduced in m. l-2. Motive 3 is sung in m. 18, repeated sequentially in augmentation, is restated in its original form and again appears sequentially in augmentation. It is then followed (m. 20) by motive 2 in the alto and bass, com- bined with a slightly-altered form of motive l in the tenor. In m. 22-23, motives l and 2 in the alto appear simultaneously with the soprano's repetition in augmenta— tion on the motives 3 and 2. In m. 52 motive 3 in the soprano is sung in its original form followed by its inversion while the alto sings motives 1 and 2. Although the vocal lines are not decorated with ornamental tones resulting in microtones, the character F¥_W of motive 2, combining the lower neighbor with the O 4 0 rhythmic pattern, creates the illusion of such ornamenta- tion. For example, in the alto and bass of m. 90 the lower neighbor provides a quavery embellishment of the E. --o"" , 88 The vertical range is moderate, not narrow as that of most Japanese music.”1 Nor is the tessitura par- ticularly high; most of the notes are in the middle, comfortable register. Tone quality varies little with regard to the style of tone production, but the use of paired low and high voices contrasts their tone quality, as does the opposing quality of low and high voice registers. M. 9—10, for example, contrasts a rather high tessitura with a lower one in the alto of m. ll-l2. The diversity of texture accomplished by changing the number of voices used (one, two, three or four) also tends to lend an element of variety to the tone quality. On the other hand, the piece displays considerable variety in dynamics, with alterations usually at least every two measures, and often every measure. Changes in dynamics are frequently dramatic. The crescendo from mf to 3 in m. A-S leads to two accented eighth-notes followed by a subito p in m. ll. In m. 18 the hushed alto and bass sing at a subito mf level; the soprano 6» 141 7>— O /—— —7— e Soprano Alto Tenor Bass V‘. remains soft and is silent for a measure—and-a-half, followed by a sudden f entrance in m. 22. The coda builds to the point of highest intensity, increasing from f to £3, accompanied by numerous additional accents (m. 91- 107). The highest notes of the entire composition have been reserved for this section, presenting the climax of the piece. Tone painting does not appear to be a vital element, although it is not totally ignored. For instance, the precise effect accomplished by the octave doubling of a rather martial rhythmic pattern suggests the prim and precise nature of the words "ladies file out, abrim to the lips" (m. 17-20). The sharpness of "gossip" (m. 33) is punctuated with an accent. The natural vocal inflection of the words receives little attention and is often actually ignored. This represents the most radical departure from the elements typical of hogaku. The most prominent characteristic of Japanese music may well be the total fusion of words and music. In "A Song of the Palace" the musical line obviously receives much greater consideration than do the words. For example, the SOprano and tenor of m. 11 and again in m. 78 accent the second syllable of "flowers"; in m. 26 the soprano stresses the word "of" in the phrase "pavilion of jade"; in both m. 6H and 68 the word "it" is emphasized in the phrase "daring not to breath it"; 90 the last syllable of "pavilion" is stressed in m. 9H, and the word "to" in the phrase "abrim to the lips" in m. 96. Linear Characteristics "A Song of the Palace" contains a considerable amount of imitation as might be expected in predominantly linear music. Theme 1 (m. 1-2), involving motives l and 2, is constantly imitated in the fugal, motet-like structure. Often the imitation is paired or doubled. The soprano and tenor of m. 6 are strictly imitated at the second by the alto and bass in stretto (m. 7). A freer statement of the theme occurs in the alto of m. 11, followed in stretto at the fifth by the original form of the theme in the tenor of m. 12, imitated at the third in stretto by the alto of m. IN. This kind of fugal imitation persists whenever Theme 1 appears. In contrast to the contrapuntal treatment of Theme 1, Theme 2 (m. 18-20) is never imitated. The second theme consists of a statement of motive 3 repeated sequentially in augmentation, followed by a rhythmically— displaced return of motive 3 and an augmented version on a still higher tonal level, ending with motive 2. Theme 2 is always sung either by doubled voices, as in the alto and bass of m. 18-20 or by all four voices in unison, as in m. 9—12. 9l Repetition and imitation sometimes create the effect of inverted counterpoint and lend a subtle change to the sound. In m. 39-59 the soprano repeats (at the interval Ol a major second) the alto of m. 14— 3‘ 34, while t e tenor of the same m. 39—59 repeats (at the same interval of a major second) the soprano of m. lA—3A. With the exception of only two notes (the C# of m. 12 and the D of m. 39-40) the alto repeats at the same interval the tenor of m. 39—59. In essence then, the enti a section encompassing m. 14—34 is repeated at a tonal level a major second higher, with the parts merely assigned to different voices. Augmentation appears briefly in m. 22-23 where the soprano sings an augmented version of the alto of m. 20. Pedal—points and ostinati are important structural A of O E} 0 IT; ct a) “ n+.-. IEabul”e (0 osition. Pedal-points may be seen Oc'j 3 in the sopra o and tenor of m. 18—20, the tenor of m. 26— y p 27, the alto and tenor of m. 43-45, the alto of m. 51—52, the soprano and tenor of m. 68-69, the bass of m. 78-79, the soprano and tenor of m. 82—8H, and the soprano and tenor of m. 88—90. Sections 2 and 3 (m. 11—61) are con- structed of ostinati consisting of Theme 1, periodically interrupted by Theme 2. The bass ostinato begun in m. 12 continues until m. 58, interrupted in m. 17-20, 26—27 and 3u-37 by Theme 2. The tenor and soprano \f i [‘0 A .-‘- '9 - r- ‘< . c .- r- .. ‘1‘», ,3” ' ‘, V'~ . r‘ 4— ": I'\ m1. ‘ . r . ‘uulnr l drd Ul QCUrbe: Qdfdul n. lfle Ogtlndto Startlng -' » ‘— — \ l~ A ~t‘ n ‘ ‘ Q— 7. 3‘ , A q -. . ‘— . . y\ a -‘ in UHC tens. o: m. 12 extends to m. 33, interrupted only . /‘ 31?, 9“, ‘1'] l)». 4,.‘ 9‘) AV) ‘ "VW : :~'-a.,..‘ h,‘.‘ -‘iY‘ 70: :‘a. .l... “a. +g-LU, Linc ULLlU- Usa’CA. Lil—L. dbCD Utah .L'lle 1i]? U l '14—(‘ ‘ ‘ ‘- \ fi‘.‘ r‘- A a r ' :A 'v- . 1" r‘ stated by the soprano u: h. la-Jj, while the sOprano I 4"“ 7‘4»; .““"~ ’1: S‘— (‘4‘ '- ‘ '\ +‘ (‘14- . I! aquoo UHC ostinato Ilrob opazefl by oCG also, CH8 'V P~_' x’Or' ,' f‘; 4" . -,~ ' ‘- r-. 1‘ a cs . ,u 2 a- »- - ‘- 9- /- f‘ 1 r\ I | 1'— \ pupiuuj Udeludbu also 13 lmtcf’“Dch ufily che (m. AB-LD). .. cx“ I". v " a" " "2 I‘» f‘ \ Jar. ~ C‘ -:- 4-» ‘ J A q r:1‘-.' *Q. ' ,_-w , . r" UPCQUSP Vafilabluu Upphru in 606 alto. lhe llfiat note 10 ”‘1- r’. ~ ") 4 4- - . 17 '- 3. . H. —' ~ w 3 "I " F‘. ' .‘1: )' . 4— ‘ . n “ 4— ineme a interru,t1ng in m. 1,—26, 26—2/, the also then f~ w. , ~ ~'~' ': v‘ ‘— " 1‘ *' Ar ' ’ . ‘ 4‘ . r“ r- "" .’\ \ I "\ ‘ ' ' —‘ \" ‘ ‘ V‘ r‘ .‘x v ‘— L- apyf prlavco one uuolfiauO ychlwuuly bung DJ one tenor, . 4'" ‘A \ D —. a / \ - ‘— .— , a. _ a) -.. . I -‘ ,. -‘ .a r but Wis“ UUU i 3st and luau Guess of tfiu Luefic altered . r. I" (~ A. .x - t“ - L rm, - \ f. ‘r ’- (~ ~. 'J‘ ‘ ‘. ~“ 4" ' ~ ‘ / fl. ‘— taslonal touches oi heterophony, with r \ A " r— vr .- .- - r,’1 A x - a r‘ Gite VKJJ—CC UiLbiabLJ, UPYA'_LAAAe./:UCQO 4:16 tkjfao '3 (And boprarlo “ N f (N “ , . ’1 ‘ v‘~ /‘~ r‘I " ,fi . I‘ . Oi m. :2—2A are essentially progressing frOm t to B to A o ‘i I v- Lt”, 1 \A J 8." 3 -‘ .l ‘- " -;, 7. ,§ ‘- p-r, Y) ’3“ "x... ‘9 fir r3 ‘- ‘r’, 3 » 1n Tor) V rt, .Ltl in. ,— 'fj LJAAL Ci DU LLI.&A L/vilca. LA; .L.LbuLBL DIAL :3; Col b— “ -' 1 v \ ~| Lu . ‘ .' A - F 1‘ ,1 -\ .'~, - 4‘» g“, r\ .— olufi a “Olc oecu ”téflcf lfle oUpPauw RUG blbo 01 m. _J r; O max r- ~ I~ rv' '\ y“ ’. ‘ ,\ w .l N'- '\ r 4- ‘ .--~ ,‘ \ I +— ‘ —. r. ’1 lhe harmonies result iron the Concurrent hOPlZOUt(l n 1 l‘ r\ VF (‘i D .. L“ P ,- ,‘1 J - “ A v . r“ - A, r. r‘ , .3 :J ".t -> 0 tatements oi the Ua‘lC *nemes or Cl material derived lrom - , I them, and consequen‘ - y related to the principal H q I" 1. Cu O F.) O U (D melodic notes. The chordal struct res are primarily 93 prominent. “ A substantial number of quartal and s lend their characteristic quality to tne composition. This quartal and secuntal structure, the added note chords and the st trong emphasis on the minor—seventh chord closely resemble the harmony typical of sho and koto sonorities. . , AA . harmonic rhythm varies cons id raoly. It IS interesting to note that th harmonic rhythm remains slow (D st when A minor, D minor and E minor harmonies are implied. Emphasis n D minor (as in m. 18—20) and E minor (as in m. A2—h5) is reminiscent of the harmonic structure of the ga513u voror and so patterns. Sometimes tones in the melodic line substitute for the harmony by propelling the melody to its cadence. The \_ melody often encircles the cadential tone, moving the line directly toward the cadence. In the soprano of m. A—b, of n. 67—68 and of m. 81-82, the notes encircling tones function somewhat as changing tones ~. ..-‘,,.+—'.‘ the cadential leading irrevocably to the cadential note. The melody 142 . r . i ' " l ' Tnere are A! triads, 5U seventh cnords of which 37 are minor—sevenths, j ninth chords and 3 added-note chords. 43?, ; lwerty-three quartal and secuntal harmonies can be seen. nu- . . e rhythmic pattern based on harmonic changes is .J ,1 1 5‘“. J 3 H; in m. 9- ~11” a MD 7731le 3 ' l .. all} 14¢} .llFT}} loll .: mg} mm”? .24} JF} NH in m. 13-33- will also turn on the cadential tone, thus moving to the cadence. In the soprano of m. 20—21 the cadential tone v—‘ v—1 E is “pproached by both neighboring tones; F-E-D-E, as f m. 32—33; in m. 57-58 the tenor cadential he turn G—F#-E-F#. is the soprano o tJ—l, :tt; (l (D H. I} p :3 93 (f (D U (‘f Rhythmic Structure bserved generally that the polyphonic t. ( f (3 o :3 (3 ('L‘ O the Palace” affords much prominence to the rhythmic element, althoug h the meter remains \ regular and the rhythmic patt>rns are not complex. (‘1‘ seem o substitute for F] M U} OTmU' w Rhythmic cadential "\ the traditional harmonic ones o: Western music. The consistent use of larger note values at he ends of ~ed by a rest) imply cadences. This C, F l I..- O 2. can be seen, for example, in the SOprano of m. 14—20. Rests function mila rly to those in a motet, relating in the separate voices. J J ’3 cl‘ Q) }_J C a) 0 Cl“ U1 The soprano voices of m. 27 and m. 47 display this tendency. hosts also delineate cadences in the homOphonic 4L. sections of the composition, as in m. 5 and m. 100. ”U .hythmic ostinato provides a structural and unifyL ng element. The patterns are usually associated with the principal thematic material; the pattern J J J- 03 2u_39 \.I — Iago, —,‘_~?——— news,_ Now near - ing my VII - Iage, meet - >/—\ ’fl ‘ 7 1 4' n h - — , —v—+*-—4-=-——P——-9—€ ‘1 g * 1 w A A x r A . 1 L 3 J V L f: i T 'l J 3 meet - ing poo - ple, Now___ .1-._._ near - mg J 1" | 1 ’ I T J I A I If 2' l L 7’ 7—3 fi 1 : a: .m I 1 + I 4 j = a .1 A : a j, ' W .d \\ / 1r v T meet - mg pco - pIc , No near - mg a , , >A 4 1 r . I ‘1 #7 (1| .1 JL r A r: ‘ ' Lr 1r 1 a j v n 1 v r I] V X J " V V ' ing peo — pIe, meet - ing peo - pIe , New ___...s—fi >/.—-\ I. ‘ ‘ A - a ‘9' ‘—w I. n - - ' v - f f I 1 fl 4 l, I 1 1' V l J j I 4 4g ‘1— A L A I r I l I _P 1 fl ‘ 1 - pIe, meet - ing peo . ple, Now I In I. If j . —i—9——.-———er.———-—~1 1 . . : x r P“; 1‘ n 1 it I It :1 r V 7 - Iage, meet - ing peo - pIe, near - ing my 4 L I #1 l I It 1; 1 I J1¥tfi T L 4—4 I l J A I I W “’1 I l a v “a i " i - Iage, meet - ing peo - ple, near - mg my >‘ I . . i i i I A L . ¥ . I ¥474 J,’% ‘1 - l i V L 4 n I 11 1. v ' l v I 1 V 111- f l ‘ , a 1. , mg my m - Iage,_ meet - ing . peo- ple, A > ,= . ; " f‘r . .mfl- .2 ‘ P a ; i . f - I g I: f T l 1 l l f l i I I fij 2g my \‘Il . Iage,_ meet - ing peo - pIe, 1014 Example 9, Continued meet - ing péo- pIe, ‘u—. A meet- ing peo-pIe, near - ing my vi] - and meet-ing peo-plc,_ >>> and meet-ing >>> and meet-ing and meet-ing poo-pier. Iage, pace string. > > -ing near -ing C) U! Example 10, m. 30-“? Tempo I / f "7}; allarg. pace :1 you; ~ :_—_=..—. 111) a I dare not ‘ sin - gle qucs p m.——- ... ”.4...“ v. ___."H 1.3: I dare not ask a sin-gIe ques - tion. 106 section, which elides with the first in m. 2H, pits the soprano and alto in B against the tenor and bass in E. The melodic lines have a marked predominance in stepwise motion to even a greater degree than in the pre- A7 Harmonic implications of the vious composition. melodies are therefore indistinct, as in "A Song of the Palace." Key relationships, insofar as they are discernible, bear some resemblance to those of hogaku. Modulations are usually those of a fourth or fifth. Frequently the notes remain the same but the tonal center moves a fourth or fifth. For example, the SOprano of m. 16-23 essentially sings the same notes as in the preceding passage, but the tonal center of the entire section has shifted from B to E because of the harmonic implications resulting from the combined voices. In this piece, also, tones a whole-step below or half-step above a note function as neighboring tones to it. In the bass motive, m. l, the tones E and G encircle the F#; the same relationship occurs in the alto of m. 17-19. The soprano C# of m.-2A is encircled by B and D. The melody stresses notes directly above or below the tonic, primarily because all of the material is “70f the 323 conjunct and 9A disjunct motions, the soprano has 78 conjunct and 30 disjunct; the alto 82 conjunct and 22 disjunct; the tenor 80 conjunct and 21 disjunct; the bass 83 conjunct and 21 disjunct. 107 derived from the tenor motive A-G-B and its retrograde form in the bass, E-G-F#. If the tenor is considered in B, the leading tone is stressed; if in G, the supertonic is stressed; if the bass tonic is E, the supertonic F# is stressed, and if in F# the supertonic G is stressed. In trying to determine the scale degree upon which the song begins, the manner in which an individual hears the music again influences the analysis. If the piece is heard in E, the song begins on the fourth note of the scale; if in G, the composition begins on the second note of the scale. However, if the piece is heard in B, the first note is the leading tone and differs from the format typical of Japanese compositions. If the song is felt to be in B, on the other hand, the submediant note acts as a leading tone moving directly to the tonic (in the tenor of m. 1-7 and the soprano of m. 17-21). The melodic element dominates in this canonic com- position and, as mentioned previously, all of the material stems from the motive G-A-B in the tenor. The bass motive (m. l) is the inverted retrograde form, and the melody introduced in the soprano (encompassing m. 3- 6) is derived from the same motive. In m. 3 it is the retrograde of the tenor motive; in m. A, augmentation of the first two notes of the motive; in m. 5, a sequence is formed of the first two notes of the motive, and in m. 6, the sequence continues but in augmentation. 108 Although the melodic patterns are too conjunct and too brief to imply harmonies, the tenor motive combined with the bass motive imply the E minor harmony typical of wagon patterns. Motives are not sung individually and then combined, but the tenor and bass motives are sung individually and then continue as ostinati under the soprano and alto. The moderate vertical range parallels that of "A Song of the Palace,"Ll8 but each voice has a narrow ambitus for a section at a time. All four voices have a six-note range from m. 1—1“ and in m. 15-23; the three- note ostinato also encompasses a narrow range for entire sections. Tone quality varies more than in the previous song, although never as much as in hogaku. The tenor and bass sing in sotto voce in m. 1-16, and the alto and SOprano do so in m. 17—23. Since each voice retains a narrow vertical range for a section and then moves on to another limited series of notes, the tone quality fluctuates somewhat, due to the different vocal registers. For us ‘ Soprano Alto Tenor Bass 109 example, the SOprano sings in the high, dramatic register in m. 28-38, then changes to the pp tones in the chest register (m. AO-A7). Dynamics do not vary to any marked degree, although they do feature dramatic contrast. The first section remains predominantly quiet. The second part begins subito forte in m. 2H, continues at a moderately-loud dynamic level, then crescendos to ff, and is immediately contrasted by the pp coda. Higher tones are reserved for tenser moments. The climax of the piece begins when the soprano moves to a higher tessitura (m. 28); the other voices do so in m. 3H, and the highest point of tension occurs when all voices except the alto reach their highest notes in m. 37. The tension ebbs when the voices lower in m. A0. Again vocal inflection exerts little influence on the melodic line. The "a" of "a-way" is emphasized throughout. Stress is placed on the second syllable of "people," as in the soprano and alto of m. 27—28. "From," in the phrase "from home," is stressed in the soprano of m. 12. Little tone painting exists, but the melody generally follows the meaning of the text. This can be seen in the setting of the words "now nearing my village." Excitement is generated by the more moving tempo and loud dynamic level (m. 2H), repeated with even greater excitement; then 110 on the word "away" (in the coda) the music acquires a distant quality, quiet, low, and fading away. In m. l- 10, the melodic lines rises as it accompanies the words "I was longing for news," the musical tension matching the anxiety implicit in the words. Linear Characteristics Crossing the Han River exhibits a predominantly linear construction and is polyphonic throughout except for m. 34-39. Canon permeates the entire composition. The tenor ostinato in m. 1—7 (in m. 6 the tenor changes to the retrOgrade form) is imitated in retrograde inver- sion in the bass at a time lag of two beats and in stretto. Meanwhile the soprano theme of m. 3-9 is imitated canonically in the alto at the fifth below and at a time lag of two measures. The canon remains exact until the middle of m. 9. The soprano of m. 8-9 sings an imita- tion in augmentation of the bass motive of m. 1. From m. 10—13 the soprano is again imitated in canon, this time by the tenor at the octave and at a time lag of one measure. At the same time the alto is imitated in canon by the bass, also at the octave and also at a time lag of one measure, continuing until m. 1“. Double inverted counterpoint characterizes the first section. In m. 17—23, the soprano and tenor of m. 3-9 invert at the octave while the alto and bass of m. 3-9 invert at the octave. 111 Section 2 consists principally of paired voices in canon. From m. 2A-31 the soprano and alto, doubled at the octave, are imitated canonically at the fifth below by the unison tenor and bass at a time lag of one measure (m. 25); the rhythmic displacement in the tenor and bass of m. 29 changes the time lag to four beats instead of five. M. 3A-39 comprise the only homophonic section of the piece.’ The bass appears in mirror with the soprano in m. 35 and 37. In the coda, which begins in m. A0, the soprano and alto pair rhythmically in parallel fourths (m. A2-A5); the tenor and bass, paired rhythmically in thirds, mirror in diminution the seprano line of m. “0—43. Ostinato serves as part of the principal structure. The tenor and bass ostinati of m. l—7 are taken over by the soprano and alto in m. 16—21. Again in m. 32-37 the soprano sings an ostinato. Harmonic Structure Most of the harmonies, which are perhaps purely coincidental, result largely from the simultaneous sound of independent melodic lines and seem to imply small harmonic patterns. They might be considered harmonic ostinati, since they stem from the ostinati of individual voices. For example, E minor persists in m. 1-5; in m. 10-15, Em7 and F# quartal alternate. 112 In the only homophonic section (m. 3A—39) there is no obvious pattern but all of the chords except the last contain the interval of a second: 0M7, Bm7, C#°m7, O E quartal, Em7+6, Gm7, B quartal, C# the simple triad D# (G enharmonically FX). The coda moves +2, DM7, ending in to a sustained G harmony until the last measure. Its surprising Picardy third (somewhat anachronistic) con- tributes toward the unity of the group of four composi- tions, since it forms the B major chord, dominant of the key of E in which the next piece begins. The harmony is primarily static, then, because of the static nature of the individual ostinati. Where harmony is implied, Em or Em7 seems to be part of the harmonic pattern. In these two respects Crossing the Han River more closely resembles hogaku than does the previous composition. Furthermore the harmonies are based on the principal melodic notes of the piece. The melodic lines from which the harmony results are derived from the tenor motive and contain little chromaticism. They are therefore extremely closely related and similar; thus the harmony consists mostly of the same notes. With the exception of the simple Em harmonies, the D# major of m. 39 and the final B major chord, all of the harmonies contain the interval of a second. Some are # quartal (as are the F quartal sonorities of m. 12-1A and the B quartal structures of m. 36-37), added-note 113 harmonies (like the Em7+6 of m. 35 or the C#°+2 of m. 37) or seventh chords. Perfect intervals are prominent, as for example the parallel fourths in m. 9-10 and u2-u5. The minor-seventh chord plays an important role in the harmony, especially since it participates in the harmonic ostinati mentioned previously. The harmonic rhythm is slow only in the coda, when the G major harmony lasts four measures. Generally, however, the harmonic rhythm consists of half-measure changes. Rhythmic Structure Unlike "A Song of the Palace," "Crossing the Han River" contains only one rhythmic cadential formula that might be construed as a substitute for the more conven- tional harmonic ones. The pattern CLfilI appears in the cadence of the tenor and bass of m. 10, m. 16, and again in m. 2A. However much more rhythmic ostinate is evident. The pattern J J o1 reiterates in the tenor and bass of m. 1-7 and in the soprano and alto of m. 16-21; JJ J ‘33 repeats in the alto from m. 10-15; C1 0‘ J‘CJJ A continues in the SOprano and alto from m. 32-37 and in the bass from m. 34-37. The meter is usually 2’ but since the basic motive has a duple rhythmic pattern of J J23, considerable rhythmic alteration.takes place, including augmentation and diminution. The soprano of m. 8-9 imitates in 11A augmentation the bass of m. l; the soprano of m. 3 sings a rhythmically augmented retrograde version of the tenor of m. l. Augmentation of the sequential pattern in the soprano of m. 5 may be seen in the next measure. An inversion of the soprano and alto of m. uO-A3 appears in diminution in the bass and tenor of m. A2-u3. Changing meters contribute toward the rhythmic interest. The principal 3 (i + 3) meter changes to 3 in m. 38, back to E in m. 39, to 3 in m. 42, to i in m. AA and to 3 in m. A6. The meter is entirely measured. Nevertheless the rhythmic element displays extensive flexibility and prominence. Much syncopation may be found throughout the piece. For instance the soprano and alto of m. 25, the tenor and bass of m. 26, the soprano and alto of m. 28 all emphasize weak beats. An example of rhythmic displacement occurs in m. 29. The tenor and bass imitate the soprano and alto canonically but enter on C one beat sooner than might be expected. The alto ostinato of m. 10-11 is rhythmically displaced in m. 12-13. Accents shift frequently, since the 2 meter changes from i + E to 3 + i. M. 13 conSiStS Of a i + g subdivision of g in the soprano and alto, changing to 3 + i in m. 1A. The shifting accents in m. 14 also create a polymetric effect, with the soprano and alto 3 2 2 3 M. A + A and the tenor and bass 4 + 4' 26-27 contain a similar example: the soprano and alto of m. 26 are l . 5...] UW 3 2 . 2 . . + 3 against the U + A of the tenor and bass; in m. 27 q C A the situation is reversed. The length of the phrases varies. The soprano of V m. 3-1A consists of phrases encompassing 2 + 2 + 3 + 3 + 2 measures. Often the length of phrases may be subject to interpretation. For example, the opening tenor motive might be considered a one-measure phrase; or the phrase may be deemed seven measures long, if the ostinato is very legato and no breath is implied. Form "Crossing the Han River" is comprised of a clearly- delineated two-part form with a coda. The form of the poem does not determine that of the music, since the words are repeated as Mennin sees fit. However, the musical sections do have a definite relationship to the lines of the poetry. Section 1 (m. l-2U) is set to the first two lines; section 2 (m. 24-39) accompanies the third line. The coda, beginning in m. 40, combines the ‘st line of poetry with a reminiscent reference to the FJ pg first word of the poem, "away." The jo-ha—kyu concept may be applied, with the jg (introduction)(m. 1-2), the ha (exposition)(m. 3-39), and the kyu (resolution) (m. A0-H7). CHAPTER V PETER MENNIN'S "IN THE QUIET NIGHT"u9 For the third poem Mennin chose from the works of the great poet Li Po (699-762):50 So bright a gleam on the foot of my bed- Could there have been a frost already? Lifting myself to look, I found that it was moonlight. Sinking back again, I thought suddenly of home. Melody Again the tonality is vague. The soprano line of m. l-3 could be considered the ornamented outline of the {i333 scale on E; m. 1-6 imply a six-note scale. Or the soprano could be A natural minor, an implication sup- ported by the melodic cadence on A in m. 6. The alto also could be in A minor, with the F# of m. 5 implying a change of mode to Dorian. The tenor more logically seems to be in B; it cadences on E in m. A, and the parallel fourths of m. 2-3 suggest a tonal center a fourth below that of the alto [Example 11, m. 1-5]. ugPeter Mennin, The Quiet Night (New York: Carl Fischer, Inc., 19A8). 50 The Jade Mountain, p. 53. 116 117 Example 11, m. 1-5 Flowing (J : am 5:: J A \ Soprano f 1, fi .1 1 1 T * * so __ bright. I 1 1 Alto So bright, 1.... so bright. ___... Tenor *7 T 1 T So bright, _. so bright, ....-.__.___ —————.— ___..—___— J :F im- j }1 1 1‘ I 1 “_- V 1, I \ , git-um ___1 m: tin-{nut of my }- f: V 1 1 1__: r " jL *r :41}. E :3 1 ~—" on 1 my be , -.__-_ .. my 2; h“ A 1 118 Since the tonality remains indefinite, so must the modulations be. The movement in the soprano of m. 1-2 up a minor third in m. 6-7 might be thought of as a modulation to C. If so, another one occurs in m. ll, as the melody cadences in A. Actually the entire piece seems to imply, however indistinctly, an A tonality when the aggregate sound of all of the voices is considered, especially in the light of the final cadence in A [Example 12, m. 6-12]. If one considers the Dorian and Phrygian modes to be used, the melody moves freely between them. For example the alto could be E Phrygian changing to E Dorian in m. 5 and back to E Phrygian in m. 7. Section 2, beginning in m. 13, could be a Dorian, changing to A Phrygian in m. 19 [Example 13, m. 13-20]. The basic melodic structure evolves from two motives. Motive 1 consists of the minor third introduced in m. l, and motive 2, a miniature palindrome created by the G—A—G in the soprano of m. l-2. The alto and tenor of m. 2-3 sing a larger palindromez. (G-F—E—F—G, and the soprano of m. 4-5 a still larger one: B-C-D-E—D—C-B. The palindromes, constructed of the original and retro- grade forms of scale passages, are not necessarily rhythmic ones. Other patterns are derived from combined state- ments of one or both motives in the original, retrograde I o ‘ Au—r‘: ;:—'_—-‘u —'—-l— ' I i:'\33='_ * I- _‘—:v I L 11 1 A *1 r j ; § 4 " " f V I ' T T r .‘ bed... ould- there have been a frost,______. a frost, ’ p _1 J ,- L g 141 - Y I 1 n 4 1 j i{in— 1: E i 1F— ii 1 ix ."-.:~ VJ . L I ' V D \ / bed... ' Could there have been a frost,— ' . =~= - ‘ i. s r :t—1 :95 u..—.—l- . In I r .u": _ol - r L In I V”) . bed. _ ___..... could there have been a frost al-read - - y? L. ”If A #— . A E575."— , 4. LL i am Could there have been_ a frost al-read — - y? BASTf ' , ‘_-' .'”;;:;;’—;3‘\ m A , P 9 ° 4 ‘ L #- I i if 1—_ 4 FE 15 1 I 'fi I :r 1 L ‘ I r“; ' I 1 I r I I r v —r ' Could there have been_. a frost a1 - read - - y? Example 13, m. 13-26 I I look, fot- mg my - self to look, __ I found ___. that it was I II I I l r r to look, Ifoundthatit... was moon-light, __.-==:=:::::::::: ”{— :=—— 1 L ‘ A _ A. - A '9 figmezsl-sésn ”ti: sitifi L II If r X“- I r Lift-ing my-self_. to look, I found that it was l L L '1 A Y K L r 1 A A Jr ‘lr A '— 4 I 1 r4 Ad I I y 1' L“ l ’1 - I - - - I A V- - I L I I r I T‘- 1 I I T I ‘- was moon - light that it was _ moon - llght, _. W ——< h l L I T ‘1 __- n 1' I A Y L XL LJL J r I f YT I I 1 l L 1 I r l I I l I V i A r - A L I ‘D ’1 - A l v U v . v v , . . V . . . moon - light, that it was moon - lIght, Llft - mg my- ”99*: ——‘~ 2:— a I‘ m"- l L l A 'Y L I x 4—5 I A l I Y A. - F - a i . [Lee ., 4, z a .2, l r u ; raégiig -L V I V J 1 I T I I L v ' Lift - ing my- self. to look, I found that it was A mb’" "‘ . A /. -. I A - A H v - j A v 4 ’ j I I r' - ‘2 : ‘ , i y {r #JJL M Li 1 i J u i v A 1 I LL moon-light, _ Lift - ing my - self, _. I found that ”51) ———=— — —— é - x I - ‘- 1 v - ‘ rn I r A -'Q W J 1 r I“: T A A l I ' T A I I 4‘ 1 V fi I L aL I r I 1 IL “Er-E? Lift - ing my - self__ to ‘ I l r I i #1_-_ r (1 I I A 11 I " - 1 d n - 7 4L 1 1' v 4 : E V found that it was p01» .4 t H l firar F 1. tn .4- .‘ nun-b Huh” - A A - I 1' r I L T '1 ‘- J I l I I I . 1 1 r 1 r I x _I x x was moon - light, Lift- ing my - 121 Example 13, Continued cruc. molto < /JL 7 . . - f > 5 #1 s i y Ar -*4;= 5 34*- g”; fig; 1. I J 1 I ' I I I 1 17 E 1' ‘1 1 l I L l S F 1,1 T I'- look, I {cund that it was moon- light. C 680. m ((0 < _T 0 >.’ > A ,A‘ a K - I A I * V ' moor. - light, I found that it was moon- light. erase. motto f > A > A J A ; f 2 .r T- : E s " 'v‘ :3 a E - light, I found that it was moon - light. ——_§ crane. motto > A '*' ’ 9- Jr: 131! A I A n g . X l L! 4 I ‘I A I 41L i x 1 1 1 r 1 I I !1_m_ I I I L l I 4-; IM v 1 x __L’. moon - light. self , 1 found that it was 122 and inverted forms and from the extensions of the palin- drome. The SOprano states motive 1, then motive 2 (in elision and sequentially) in m. 1—2; the alto and tenor of m. 2—3 combine the original form of motive 2 with its inversion, thus constructing a larger palindrome pattern. Part B (m. 13-26) begins with motive 2 followed by motive l in the soprano (m. 13-14) (see Example 13). In the imitative Part B, the subject introduced in the bass consists of an inverstion of motive 1 followed by motive l itself, then an inversion of motive 2 (m. 13- 15). The accompanying theme in the soprano of m. 14-15 (C-B-E-D) is the retrograde inversion of the soprano motive 2 (B-C—G-A). Melodic movement is even more conjunct than in the two preceding compositions.51 The melody stresses notes directly above or below the tonic. The emphasis on G (subtonic in A) and F (supertonic in E and subtonic in G) can be seen, for example, in the alto of m. 2-5; accentua— tion on B (supertonic in A) is evident in the soprano cadence of m. H and again in the soprano of m. 6-7. If the piece is felt to be in A, the dominant and subtonic notes are heard before the tonic appears (m. l). 51Of the 288 conjunct and 52 disjunct motions, the soprano has 78 conjunct and 26 disjunct; the alto 89 conjunct and only 7 disjunct; the tenor 79 conjunct and only 6 disjunct; the bass M2 conjunct and 13 disjunct. 123 Tones a whole-step below or a half—step above a note often function as neighboring tones to it. This is due both to the predominantly stepwise motion and to the palindrome construction of motive 2, which implies an upper neighbor, as well as its inversion (as in the A-G-A of the soprano in m. 5-6). Scant attention is given to tone painting. Generally, the piece displays no great concern for the dictates of the text, which seems to be secondary to the demands of rhythmic, contrapuntal and structural interest. In the soprano of m. 14-20, for instance, the rhythmic construction frequently distorts the logical flow of the words and relegates the text to a subordinate position. Rhythmic concerns take precedence over vocal inflection. In m. 30-32, for example the vocal inflec- tion of the words "I thought suddenly" is distorted and emphasis placed on "ly" [Example 14, m. 27-37]. The overall ambitus parallels that of the previous 52 compositions. However, the voices usually stay within a narrow range for sections at a time, especially in the alto. In m. 28-37 the alto encompasses only a four-note range, E to A, drOpping to D once at the cadence on m. 32. 49- 52 Soprano Alto Tenor ‘ Bass 121% Example 1h, m. 27-37 A L A ‘ ‘ 4 L A - _' _L j I K _L V ‘ ' ‘ ‘ ' -—. I l “- '_.-_ _- ———- —- V ' ._ — —' _ —_. t\ '-A —'_—-;_ I I I ' I Sink» ing back a - gain, Sink— ing hack a - ui' H :E A - 4‘ L f A L r J; I. L IL I 1 if * ' /-—\ 17€3“—! ’i Sink- ing back ' a - gain, __ ___.. : I A A A :o='m'—'"—‘ — -_——= -._-_- - =;=.—: :u;=— _. ..— —’-=.—- l T I I..- _ '_- I r ‘V’ T’ ' ' ‘— r r r gain, ._.. I thought_ sud-den - 1y, I thought ._ sud-den - p— l A L L l A A - - . x7 n n x 11 L . i r 1 v ' o 1 1 I I 1 1 .- — . . — —-—-— _ —" - W I thought sud-den-ly, I thought ___-_._ sud - den - ' ‘\ L L l A - —.- _ l I 1 1 ' ,_._____. 11:1 align-3,:— 117% 1: ‘ ——'—‘ r I I_ I ax v—, —— V I I’ kl A ‘fi 8. - ___.— Sink - ing back a - gain, ' § 1 (J2J) A j T I ICE: — -——-r=;-z"= - — ' i; _ _' '1' , .— $ I 1 5:; r r : 1 : ' a- - } 1y, I _ thought sud-den-ly of homo, i-O- 4 1 A ifiVE _—‘ ’ 2' 1 I A Y t 1)::— I thought ___.. sud - den - l I Z \ :C- _1 1 r.___- I J - j r..——-——- 5 J L .xn—A _«I -r’ g; 1' l I I ' T gain, _ I __ thought— 125 Example 1“, Continued A i _1? f’ it 3&4 f 3‘ of home. T i I x J” L f thought of home. i g 4 2? g: g :f - of home. *“ 1P 11:; E F L L—'—j j- fi’: J: ‘r thought of 126 The tenor includes five notes from the C of m. 19 to the end of m. 26. Higher tones are reserved for tenser moments only in the bass, where the high D and E appear exclusively in the most dramatic measure, m. 26. Linear Characteristics "In the Quiet Night" is principally linear, although occasionally small segments of Part A phrase homophonically, as in m. 9-12. The alto and tenor some- times pair in parallel fourths (m. 2-3) or parallel sevenths (m. 5-6). Part B (m. 13-26) consists of a fugato. The sub- Ject, first stated in the bass, m. 13-15, duplicates the theme introduced by the soprano in the preVious composi- tion, "Crossing the Han River." The tenor enters with the subject in m. 17-19, the alto in m. 20—22, and the soprano in stretto in m. 22-2“. The soprano line of m. lu—l6 (C-B-E—D-C-B) appears to be a rhythmically-altered imitation of the tenor of m. 12—1u. The retrograde form of passages is extremely common because of the frequent melodic palindromes in Parts A (m. 1-12) and A' (m. 27-37). In the tenor of m. 9-12, for example, the ascending scale B to G elides with the descending scale G to B. The alto and tenor of m. 2-3 consist of motive l (F-G—F) and its inverted form (F-E—F) incorporated into a palindrome (G-F-E-F-G). the scalewise 127 nature of the material provides considerable melodic imi- tation not only in the original form (as in the bass of m. 34—36, in which the G-A-B—C imitates the E-F-G-A of the alto of m. 33-3u) but in mirror (as in the soprano of m. u-S, in which the B-C-D—E appears in mirror against the tenor F-E-D—C), and inverted (as in the alto of m. H-5, in which the G-F-G-A-G-F is an inversion of the alto and tenor of m. 2-3). Harmonic Structure The harmony serves in a functional capacity to a much greater degree than in the two previous works. Simple triads occur at the principal cadences: E minor at the beginning of m. N; D minor at m. 6; E in m. 26, and D minor in m. 32; the final cadence involves only the perfect intervals of A and E. If the composition is considered in A, the chords based on the tonic (of which there are 25), dominant (21) and subdominant (20) predominate, with 12 chords con- structed on the submediant, 10 on the mediant and merely u on the supertonic. Of the 10“ sonorities of three or more tones, 81 contain seconds. Of these, 13 are quite apparently quartal (as the A quartal and B quartal structures of m. 35). Twenty-two of the remaining harmonies are either major or minor triads and one a diminished triad (the B° triad of m. 20). The minor—seventh chord appears 128 considerably more often than any other chord: of the 68 containing seconds, 3A are minor-seventh chords. Rhythmic Structure The rhythm displays freedom but is hardly complex. Simple note values prevail, with no subdivision smaller than an eighth-note. The rhythmic pattern {J7 occurs at several of the cadences: in the soprano and tenor of m. N; the soprano, alto and tenor of m. 6; the soprano and tenor of m. 30, and the alto and tenor of m. 32. However, cadences are generally approached harmonically, and the functional nature of the harmony in this piece tends to negate the duplication, by rhythmic patterns, of that function. Several of the rhythmic patterns contain rhythmic augmentation. in 3 the alto of m. 3 (J JufiJ) appears in augmentation in the alto of m. 7-8 Odd-4‘4 ); the alto of 111. 13-15 (JH- fill”) is rhythmically augmented in the alto of m. 33-34 (A dJ‘d-J ). In 3 + 3 the tenor of m. 314 (J J 3i.) JJlaU) sings a rhythmically-augmented version of the soprano rhythmic pattern in m. 2 (f3 {DU-1’). Meters change frequently, nearly every measure in Parts A and A'.53 Part B alternates between 3 and fl. 53 2 A 5 6 5 u H to u to u to u to u to u to u to H to H (and to i in section 1). 129 Phrases are constructed in irregular lengths and exhibit extensive variety. For example the soprano phrases of m. 1—12 are 3 1/2 + 2 + 2 l/2 + 4 measures long, while the alto phrases of the same measures are l l/2 + 3 + 2 + u measures long. m The simple ternary A-B-A' form, with Part B ending yon E, the dominant of the key A, is set to a four—line poem. The opening phrase resembles a netori. It is a short phrase, presented by one voice, stating the motives to be used and possibly suggesting the mode. If the composition is in A, the dominant and leading tone followed by the tonic are included in the opening phrase. After the phrase the other voices of the chorus join in. The design of the text exerts a significant influence upon the formal structure of the music. Each section is devoted to one line of poetry and is treated differently from the others. Part A is comprised of sections 1 and 2 (m. 1-12). Section 1 (m. l-6) includes the first line of the text and is principally polyphonic; section 2 (m. 7-12), set to the second line of the poem, exhibits a change of texture and a greater homophonic tendency. Part B (m. 13-26) set to the third line of poetry, con— sists entirely of a fugato (section 3, m. 13—26). The last section comprises Part A' in which the last line of 130 poetry is set to material derived from Part A. An almost literal return lasts from m. 27-33, with rhythmic altera— tions dictated by the text. The pattern WU J35 of the alto of m. ll, for instance, becomes7pJ J dHrJ-Jh’in the alto of m. 30. The remaining measures 34-37 outline in the alto the largest palindrome in the entire composition: E-F—G—A-G-F-G-A-G-F-E, and the section terminates with a VII-I cadence on A. The jo-ha-kyu concept may be applied, with the jg (introduction) m. 1-2, the ha_(exposition) m. 3-32, and the kyu (resolution) m. 32-37. CHAPTER VI PETER MENNIN'S "THE GOLD THREADED ROBE"5” The last of the four poems selected by Peter Mennin for his texts was written in the early part of the ninth century by Tu Ch'iu-niang, a singing-girl and the only poetess in the collection The Jade Mountain: Covet not a gold-threaded robe, Cherish only your young days! If a bud open, gather it- Lest you but wait for an empty bough.55 Melody The melodic lines usually follow the dictates of the text, with a few exceptions. Emphasis is placed on the second syllable of the word "open" (as in the soprano of m. 5M-55) and of "cherish" (as in the soprano and tenor of m. 67-68). However Mennin apparently gave greater consideration to the demands of the text in this composi- tion than in any of the others in the group [Example 15, m. 53-68]. BuPeter Mennin, The Gold Threaded Robe (New York: Carl Fischer, Inc., 19U8). 55The Jade Mountain, p. 146. 131 ’ 8050'? 132 Example 15, m. 53-68 I L j 3‘ H% v pen, ‘ If I 59:: I ‘ If I t. Lee: ‘4' '...._- r »' _!——E¥§ gm" —__ —v — — l t T L l: , I V V F Gath - or it, __ If a bud o - pen, Gath - I I A 1 1 o f- -..—T_ .4 l r r I 1 _ r _L 73==-- ~ti LI . . :f’3f3 42;; I. , — V v _._ 1 . A —~‘ 1’ r r i l I. l- I. _-J , I —..1 _ - —' !-'l _ I C —-—4__ —— _T“ —‘ 1 J x .- 1 —“ l 1 I I J I I T F] ' O Gath - or it, If a bud o - pen, Gath‘ 133 Example 15, Continued < 1‘1"". _. . g M L, if r —v y T I ' I 1t,Gath- er it now. Cher - ish on - A l 41 In 1 fl ‘ k i A J J = L L1 L1 —"—=--n 1 L J T -v-—=-'===: v - er it. _— Chenish on - 1y your youngduys, __ Cher-is): on- 1y... A A =—-— "f -—-=: ___n A _L r f j —-— I- —: _- 1 1% :E 1 1 '1 1 fi r I 1' - er it __ now. Cher - ibh on - A‘ A >- 1 t a {731’ <;; iii 35‘ 3: l. 33:; f 11 1 _I - or it __ now. 1314 Tonality and scale foundations are much less Obscure in "The Gold Threaded Robe" than in the three preceding works. M. 1-18 appear to be in D Phrygian [Example 16], as do m. ill-52 [Example 17] and 66-72 (see Example 17 and Example 18, m. 69—91), while m. 53—65 and 73-79 seem to be in F Phrygian and m. 85-91 in B Phrygian [Example 18, m. 69-91]. M. 19-30 could be considered bitonal, with the SOpra‘tno and tenor in G and the alto and bass in D, tonal centers a fifth apart [Example 19, m. 19-31]. The four compositions exhibit a pattern of increas- ing Stepwise motion. Each succeeding piece contains more conJunct motion than the last, culminating in "The Gold Threaded Robe."56 This may be attributed to the conjunct nature of the two motives from which all of the material in.the composition is derived. Motive 1 (m. 1-2) con- sists of the miniature melodic palindrome D-C-D, Similar to the one which had functioned significantly as mot iVe 1 in "A Song of the Palace." Motive 2, a four- note scale passage, again reminiscent of "A Song of the Palace," is introduced in the alto and bass of m. 9. Occasionally the melodies imply harmonies. The SOpI‘Etno of m. lO-ll might suggest D minor because of the \ 56Of the 591 conjunct and 90 disjunct motions, the SOprano has 117 conjunct and 26 disjunct; the alto 178 conJunct and 27 disjunct; the tenor 138 conjunct and 15 disJunct; the bass 158 conjunct and 22 disjunct. 135 Example 16, m. 1-18 Allegro (3 = 160) P a ::_.—:==I-—- Alto {5'53 % I 4 a :— I 1:... __=§__.____ i I ’ ‘ I Cov .. at not a gold thread - ed robe,— p I A d A Bass i;:‘.**—=I~——LT.'_I- % y I l—_—— Cov- at not a gold thread-ed robe,— Cher - ish your young your young p SOP‘RANO _gz ___..-gr; I ._. L 1 - —.-——————--| T I 1 _1 x I _l 1-. — v —v- r--—-‘ 3- n—' _u. n _ -A_ r-- ‘t—- —/———-/—'a-_- I- -\ .--. - ' —.—u ._1 Cher- ish o‘nr- 1y- your young days,- agar— ish on. - 1y d J l 1 L -—‘ 1 A v Lt x J I J r 1 —r d. 1'— f 1 T .’ r A " r L 1 r T r— v -\~v— _‘r A; r If: . j ', Cher-ish on- 1y your young days,_ Cher - ish your TBNOB ___=_--:: < -i—‘-——_—-:—_—- I L? L , , j J—'. - v . _ "—"_—-' 1 I r- _-1_' 4—.- :1..— - -L.- 1:: _ __I———=-4_—“- _1 1 J— . v V T ' fit Cher-nib on - 1y. your young days,_ Cher- tab on - 1y -"--_,1 ‘ r 1 I. L r7 I . :r l {—7.’ nn—;'—_: .- fir #— Char-ish ‘ on - 1y your young days,_ Cher - ish your 136 Example 16, Continued - — -u m_-) I “r J I 'v.‘—_.- -v-I. ; I E—fl { i it E E n _— ..--— L .\l" L I ' ‘ I ‘ I ' 1 your young days. I 7.. psubr‘to =___ ::: ‘ ri4i 1: A1 L71. } Loi' :L g. ”‘ ‘fl-I-Iiiflil :u::=::=r==7 --”-:f-"'..n__.fl_.‘._.__~4___:::======:=: young days. Cov- et not a gold thread-ed robo,.. ' O A : —_ A“ --'J m_.3 J L T T 1 l :gE---"-§— ‘ L * {E 1 Q J i your young days. A -__-_===—-— pmbita ""'_."‘—_‘—‘L— . “.73:— ID—- —-J—‘. - . u ‘ - 1* I I . HIE==:- L ' 1' r _I J I ’ ‘ I ll l young days. Cov- et not a gold thread-ed robe,_. 137 Example 17, m. Nl-SZ - -’ I L r J 1 L ’ I I j I .m.u§§§li§!§§§=a, L. i h _- e: x .. , : nu — —- — —- . .—- - IUV—J “— u..." ___‘L _’ _L' — _v-—.—‘S —-"'_t—L V . J - er 1t... Cov- at not a gold thread- ed robe,_ ' g L J g r‘ _: j I '7‘ 1.: I X L ’ I L A1 t n _—_-r-— -_-_ ——~ - — a 3"- g l\l'—— - ‘— _1 *7 J 1t F I p subito __.=-.-.-=:::L g:- '\1-)~‘_ —-,—_. _‘J ' -l—_ —"—.-’.. w'--l=-"/_-‘ - __- u r— _ - - ‘ 1—7 r i } I 1 J - r x -_ 1 ' n.- r—L I - V 1 f - er... it. ' Cov- et not a gold thread- ed robe,_ pcantablh ___= ”I‘) l l A l l ) i i L I I L ; l l __- - a- '—*-J __IV—I ‘-/~l'-‘VZ .‘———~ 1"; : -z_= "_ lu‘ r _-- ——="r1—: :——: 7 "" ' Cher - 15h __ on - 1y your young days. ‘ ———-:_=__“' 1- ' -I ’ 4A A i F {'7 j A I l J -.— I - ' . I .I_1 (*1 fl 1 .- A I I - ——-- ———- —u—o-- 4 1 I I 1 l -- n; ‘ ___.. -’—-; 3*“I—'I-& -\" I , .;—--.' _fl—I— Gov—ct not a gold threaded robe, Cher - ish on- 1y your young pcantabilo ——-=.=: I V j A l J J J l A A '. _». l -‘ I L1 1 I f; I lv I 1 ,U a_ — -‘—_--"-"—I -’-Y'. (It..— _’ -_-- D‘..- .L'— -- __1 I— in. 4-\,‘- t -m‘ 1 I A ~/—- —‘ — “L. v r . Cher - 15h _ on - 1y your_ young days. i -< 3 l ‘ A A _L -‘\- —_-" - ‘1 ' :_ 7—*—- I“ i- '—‘__- 'm- "'l —"_ —-'- o :'l’—"-- '--_—~ 1‘- -‘ -- —'——-- A - .o T l - — _v—- " _I. 11— r fir 1 rj L. Gov-ct not a gold threaded robe, Cher - ish on- ly youryoung 138 Example 18, m. 69—61 —-'_— m ____ ___.. -==::: - ”If erase. - -~-_'- -'—-u J I V 1 f l L 'J-'-;__-. -- - - H J r H I 1 ll 1— .'-.- A -" I T ‘ T 3‘!" J T I I I - I I I 7 J , 1 ' Y I I I ly your ._ young __ days. If a bud 7” c 6‘0 ' J; J_ ___J J A A L L f re . - J: I l I l I I X l J I: t J 1 I J l ' a-’ T 1 r ‘0 I r A --' Ol.-_ ——'—/_-- —'-_ u —— -' .U"— --.‘- J -- M‘ -"—_-‘ VV your youngdays, __ Cher-ish on - ly youryoung days. If a bud of circa-c. - _——'. »- . L F ‘ ‘ 1 t '._I—’-.-_.- --a . fl j __ r ll..- — -" l r A "'1 ‘U'...’ 3 T I r ' T J 1 J T 7 V I If a bud mf crou- I L L ill l lg: l‘ W is r 1 v :=L--_v‘-./ r r L ‘r—v I 1 :---—'—"'_ _‘- 3.1;}: -’l _ - —"_..'l I 1 T O. -T- A... I ‘ fl v V '1 r r o - pen, If a bud __ o - - - pen, .I . J -)— 4—_- A f l—.’*-— 34'='=====——‘.—. _==-v--— - =:'=::=3== ‘\"-.. ~u —‘— _v‘—.W’C- - y“ _‘.— -7.— J I \f/ o - pen, If a bud :_____ 'o - - pen, _._ Gath-er It, I L l L l l c m . v..=)'--—-v-—- '1‘ i 1 I n—v-v———r—-r— —A_ ll. - _rl _ - -_Illl 0- -"‘ E I _- cu .. _ A r rfiTf f T o - pen, If a bud.__ o - - - pen, k L -—— 5'3 \ - ‘ U\Y1)—- —r-_-, L1 1 T J‘ '1 ~--—nv_-’- m—— =-vr—_—.-- -In r j - :T-e-n - 'r 1 _ -. —-:—;--- _- r-_ _=.-'E-. M- T1: r __J W I o - pen, If a bud o - - pen, _._. Gath-er it, ——:==.__._..______ H mollu , A >."“"'_\ . ~ v-x - _._.I_-D _‘V‘m 1 T ram-__In'v“ --l—" _— 5:1':="‘“'" -‘==:.— If , : i T J l j v v I Gath-er 1t, Gath - er xt, Lest you but M I ' 1 L l > ‘ > >‘IIOII 1 '- 4 I -: 1 1 r 1 I _.':. -:-'— ‘ :n_ T ' , nth-er it, Gath - er, gath- er it, _ Lest you but motto . fl . * ~ “.—ti_~_fi I “II./—--.- _-—‘J_'— U —-I-_l0'fi --'—‘ _‘-’_I' ___- -:" It —-'-I- l -‘.--- _ l f I I r l I J '—-- --.*_—-- .\.'_A._ __I; I l l l I " fi ' ———‘—L '- 1 v Gather it, Gath - er, gath - er it, ._ Lest you but > > malty "\ a I o ' I‘V—_~‘_m_ v. _I'A" / mu—_—— u _T—v- __Il-l — ‘ "— —*—‘~-.' -_‘---—_- _' l 1 l : I If 11 -' : ;r~I—V—~L x r I ' Ii: ‘ I ’ ' V Oath-er it, Gath - er, gath- er it, _— Lest you but A 139 1 Example 18, Continued Lest you but __for. an you __. Lest 1?: ---¢=._—: 1 L wait, _ l L ‘— "_..' >. watt, _. >>> Lest you but you _‘__. but wait, Lest A 12‘ ’- m..-— --"'—— J J --c;:—_ >7'\ v-/—-. -"I_ I '-"/—:._—- -l-.-' ‘ D L j ‘ >>> <2 4 r Y L U -'-. --' .Ia j fl it! ays! it! days ! — >v your young Guth — or you _ but‘wait ._ for an Gath - er /'\ It you_ but wait, > your young Lest -ly ‘- _I— - '-—-' wait, __ Lest on f Lest you but bough, Cher - ish Lest you but t)’ t)’ wait, emp emp 1H0 Example 19, m. 19—31 19 553“;me - TM 3'7": "" _, T. v W 1; a w L @— e , i ‘ Cher - ieh_______._. - 1y your... ___- ___—'==-——- c-U I I] J U A A J figf) " 0-..' T I If L f T .. I 1 AV l I i fl :' 3:. r l '— -.: —"‘_=~I-..‘ _- f g i Cov - et not a gold thread - ed robe,.... , o ’ f I, ' p caulabvlr T A £ i J L IL 4; 33M 3? y i j. 4 T 1; J \_/ j V .' on - - 1y your +fl_:: r T V ‘1 A; J: I l :7 i r $ r+ I i? 3 a, gold thread — ed robe,— 07086. r J I ¥ l; f 41 * T Fg‘ % § 4‘ ii {i % days, your young, cre'sc. 3 H - 1y your young days, Cher- ish C resc . days, your young, ‘ erase. 1 1 A 9* LW ii i 45% - 1y your young days, Cher- ish fi—T—f I; 4 If $4,? young_ days. If a HHW! w H! F .=7-.'.=-:.= L i ii 14;; jg {4; a ;r {J r 1 nit ---v_: .c a 3. w“ Id: 3 on - 1y your young days. If a ' 1-1-) .4 J, , l 4r 1 4‘ f +2 jag: "" g... j. 3"" g 33? ?~ - ! your—___... young __ days. If a t'QVl-J A l A 1 Air Ill, 'L‘ -l—rl/ F: g I— r I \ 2:? ....... E E 1": :5 I f _I l on - Ty your young days. If u 141 interval of a fifth. In m. 57 and again in m. 61, the soprano actually outlines Gb major. Usually, however, the stepwise character of the melodic lines tends to disallow specific harmonic implications. Modulations take place at the intervals of a fifth or a third. The piece begins in D Phrygian and modulates up a fifth to A, perhaps in m. 30 with A minor as the pivotal chord. The homophonic m. 31-36 could be in either A or D, but A is stressed in the soprano. The E7 chord of m. 37-38 implies A and the C# suggests A major [Example 20, m. 32—HO]. M. 41 returns to D; the Gm7 chord, VII? of A minor, acts as the pivot chord as IV? of D. The tonality modue lates up a minor third to F Phrygian in m. 53 through the common Bb of m. 52, then returns to D Phrygian in m. 66. F Phrygian returns via the open fifth C-G of m. 72 and modulates up a tritone to B Phrygian in m. 80 through the two forms of the fifth in the B chord: F in F and F# in B. Sometimes the notes remain the same but the tonal center moves. In m. 37 the tonal center seems to move up a fifth to A although the previous section probably remained in D. I Since motive 1 includes the upper neighbor and its inversion includes the lower neighbor, notes directly above or below the tonic are frequently stressed, as in 1L2 Example 20, m. 32-40 -'_ 41 T IL _r 41 i—— ‘F T ff I r L r ~ 'o‘ .‘ —-1—7 ' Cl”- —/— _ --1_ _ _‘ — —*- ' ' 4 AUD‘ ; ' u r L' I ' v t v \ ’ bud o - pen, __ If a bud... o - pen, < p . 4 4 - — r 1 r r r J 1 l 3 T L‘L I I l A IE '9— 1 L I J J I L r L ‘L I I 1 F f ll..— .7 ' I r ‘duv" ' I ”n; —/—-; .0'/ V _L I l ; V V ——‘='_ ‘23—- ! l A A - A - - V ‘ L If ' I - 'a‘ _’— — --/_ — —"-_— ' - _-I II. - ' ,—- .U'-. 1 TL I T‘L j I? J I J L I { | I l bud o - pen,_ If a bud... o — pen, : P l I A A "Y‘ r I E J ‘ I I I I: f r I I _X u f.- -1 . I r -— -Z_..— _- —"_—- —'r* —- I/_ _- r—_‘ is i -_ —-. _ I Gath ‘ ct, -——-=_-'_""'_"_' Gath-er it, y— Gath-er it, bun—- d Oath-er it, Gather 1t, Gath - er it,____;__ Gath-er it, Guth - < Gath - er it,____. Gath - er it, Gath-er it,._ Gnth - Oath - er it,..____. 1&3 m. l-3. Tones a whole-step below or a half-step above a note fLantion as neighboring tones to it. Examples may be seeri in the soprano and tenor of m. 9, the soprano and altxo of m. 38-39, and the soprano and tenor of m. 69. THie submediant note often moves directly to the tonic. b The B of m. 7-8 progresses to the D of m. 8 in Just such a fasrrion. Other examples are evident in the alto and bass of‘nn 25-26, the soprano and tenor of m. 26-27, the sopraruo of m. 53 and of m. 79. The motives are sung individually and then combined. Motive l.is sung first (m. 1-8). While the alto and bass of m. 9 sing motive 2, motive l in its inverted form combines in the soprano and tenor with motive 2 in diminution. In m. 19-2u the alto and bass sing the theme based on.motive 1, while the soprano and tenor sing a melody constructed of motive l elided with motive 2. Vertical ranges encompass quite a wide area,57 although the voices might remain within a narrow range for sections at a time. The alto and bass of m. l-8 extend a distance of merely a fifth. In the homophonic section (m. 31—u2) only the bass, with its range of a sixth, has an ambitus of more than a third. 57 C> Sopranéph Alto 55- Tenor Bass 1114 "The Gold Threaded Robe" manifests somewhat greater tonal variety than did the previous compositions. The cantabile quality indicated in m. 19 and again in m. 146, and the sonare of m. 53 offer a mellow change from the more straightforward sections. The accents in m. 79- 80, 83-814 and 87-91 afford dramatic contrast. Dynamics vary drastically, ranging from p_ to 3:3 and changing quite frequently. Subito p (in m- 15 and m. #2), direct changes from f to p_ (in m. 30-31) and numerous crescendi (including molto crescendo in m. 8) contribute toward the diversity of dynamic effects. Higher tones are reserved for tenser moments. Scale passages build in intensity to higher tones (as in m. 77- 84) and the tessitura remains at its highest level during the period of greatest tension. In m. 87—91,, where the Climax of the entire composition takes place, the soprano, tenor- and bass sing in their uppermost registers. Several touches of tone painting point up the interest in the text displayed in "The Gold Threaded Robe - " Contrary motion in the SOprano and bass of m. 31:- 36 t0 the words "if a bud open" conveys a musical impres— 3101’1 Of the opening closing. In m. 37-39 the sweeping motion of the scale passage in the tenor and bass, as well as the contrary motion of the soprano and alto could SUggeSt the scooping action of the words "gather it." The SODrano of m. 57-58 and of m. 6l-62 expansively opens 1145 out to "Open" and the same word is depicted musically by the melisma of m. 74-76. Linear Characteristics "The Gold Threaded Robe," like the three preceding works, is primarily linear but contains some homophonic sections (m. 31-36 and m. 82-83). Many characteristics of melodic counterpoint, usually in paired voices, are evident throughout the piece. The motives are consistently imitated; for example, the soprano of m. 59-60 is imitated at: the sixth in the alto of m. 60—61 at a .time lag of two beats. Motive 2 in the alto of m. 58-59 is imitated a fourth below in the bass of m. 59-60 at a time lag of three beats. Rhythmic imitation contributes toward the uni ty of the composition. In m. 15-18 the theme based on motive 2 imitates the rhythm of the theme based on mOtive l (m. 1—4). Inversion and mirror forms of passages permeate the piece. Motive l (m. 1-2) is followed immediately by its inversion in m. 2-3. M. 3—14 (D-E—F-D) are inverted in “1° 5—8 (D-C-Bb-D). Motive 2 appears in the alto of m. 53: imitated in stretto in the soprano of m. 53—55 in min-"OP against the original form of motive 2 in augmenta- tion in the bass of m. 53-55. Inversion of motive 2 may be Seen in all voices in 111. 77-78. The soprano and tenor or m- 29—30 sing in mirror against each other, as do the soprano and alto of m. 38-39. 146 The melodic palindrome that proved to be structur- ally predominant in "In the Quiet Night" prevails in this composition as well. Small palindromes such as that in the tenor of m. ‘53-‘51! consist of the rising and falling scale passages derived from motive 2 in its inverted and original forms. Larger palindromes evolve from the simple expansion of the motive. A palindrome comprised of an inversion of motive 2 followed by motive 2 in its original form occurs in the soprano and tenor of m. l2-15. The miniature l l/2-measure palindrome (A-G-A) in the SOprano of m. 19-20 elides with the following 2 l/2-measure b palindrome (A-B -C-Bb—A) in m. 20-22, which in turn elides with the 5 l/2-measure palindrome (A-F-G-F-A) of m. 22-27. Sequence contributes vitally to the structure of the entire piece. The theme stated in m. 15—18, based on motive 2, is constructed through sequence. Motive 2 is enlarged by sequence to encompass an octave, as in the alto of m. 62-614. Augmentation and diminution also play prominent roles in the composition. Motive 2 is heard in augmenta— tion in the bass of m. 53-55, and an inversion of motive 2 in augmentation in the soprano and tenor of m. 67-69- MOtive 2, inverted, appears in diminution in the soprano and tenor of m. 77; an inversion of motive l is followed in stIretto by motive l in diminution in the soprano of m. 9 . 1“? An ostinato imitating the soprano and tenor of m. 9—11 reiterates in the alto of m. 66-71. The soprano and tenor of m. 211-27 sing pedal-points, as do the soprano and tenor of m. 88-90 and the soprano of m. 66—67. Harmonic Structure "The Gold Threaded Robe" is characterized by fre- quent changes of texture.58 Although voices are consis— tently paired as in all of the pieces in the group, variations in the texture are related to an increase in dissonance. At first only octaves appear, then intervals, especially perfect ones; chords follow, mostly triads or simple seventh chords (m. 29-141); octaves return, as do predominantly perfect intervals. The chordal section beginning in m. 53 exhibits more dissonance this time and inCludes quartal and added-note sonorities; it proves to be the longest chordal section in the composition. The subSvequent section of intervals is followed by alterna- tions of short sections of chords and octaves in which the dissonance is relatively relaxed. Where harmony does occur it generally progresses in a f~‘I‘ee but functional manner toward the cadences. The Chol‘ds of m. 83, for example (C#m-Dm—EbM7-F quartal), mOVe logically and smoothly to the E minor cadence in _\ int 58M. 1-8 contain only octaves; m. 9-14 only m e:rvals; 111. 15-18, octaves; m. 19-28, intervals; ' 28-41, chords; m. l42-145, octaves; m. l46-52, intervals; m. 53-66, chords; m. 67—77, intervals; m. 78-80, chords; m 81-82, octaves; m. 83-811, chords; m. 85-86, octaves; ‘ 8'7-91, chords. 1A8 m- 8H, and the F7-Gm of m. 29 are impelled in a rather traditional fashion toward the A minor cadence. Most of the harmonies progress at the interval of a second, as is apparent in these examples. Of the 86 chords in the piece, 58 contain the interval of a second; 8 are quartal, 17 are added-note sonorities. Minor-seventh chords appear most frequently (19). In the sections containing intervals alone, more 59 perfect intervals are sung than are any of the others. Harmonies change rapidly, usually each beat.6O Individual melodic lines do not usually substitute for the harmony but implement it by impelling the melody toward its cadence. The cadential tone is usually approached by a half-step above (as in the soprano, alto and tenor of m. 35-36, the soprano of m. 141—42, the SOprano of m. 57-58 and the first tenor of m. 90-91), a Whole-step below (as in the soprano of m. 65-66, the alto, tenor and bass of m. 29-30, all voices of m. 81-82 and the alto and bass of m. 90-91) or a third below (as in In. 7-8 and m. 18). When harmony is not present, as N . 59There are 18 major thirds or minor sixths, 27 minor thirds or major sixths, 114 major seconds or minor seVenths, 14 tritones and 43 perfect intervals. 60For example, in m. 53-56 the harmony changes Each beat: Fm-DbM7-Bbm7-Eb7+6—DbM9-Eb7-Fm7-Bbm7-G°m9- m7~D‘D-quuarta1-C quartal-Bb quartal. 1M9 in the cadences of m. 7-8, m. 18 and m. 81-82, the melodic cadential formulas can be considered as harmonic substitutes . Rhythmic Structure The rhythm is measured but considerably free with meters changing nearly every measure.6l Phrases are also of varying lengths and often overlap in the dif- ferent voices in motet-like sections. In m. 146-60, for example, the soprano phrases end in m. 52 and on the third beat of m. 55; the alto phrases end in m. 149, on the third beat of m. 53, on the first beat of m. 57 and in m. 60; the tenor phrases end in m. 52 (the tenor doubles with the soprano for the first phrase), on the third beat of m. 57, and in m. 60; the bass phrases end in m. 49, on the first beat of m. 53, and on the second beat of m. 58. Form "The Gold Threaded Robe" begins with a netori-like Short phrase that establishes the mode. Although it is preSented not by a soloist but by the doubling alto and bass, the effect of a solo passage is created by the contI‘ast offered by the succeeding full chorus. _\ 61 There are 63 meter changes, of which 38 are alternations of E + i and 3 are i, so that the piece Often gives the impression of being. in 15; 150 The rondo form, like that of much shakuhachi nnLlSiC, alternates a melodic idea with new material. GTrie motivic origin of the material lends extensive Llrlity to the composition. Part A is comprised of four sseeotions: (1) Theme 1 derived from motive l doubled in tzrie alto and bass (m. 1-8); (2) Theme 2 evolved from rnr>tive 2 doubled in the alto and bass with Counterpoint 1?:N3m motive l doubled in the soprano and tenor (m. 9-15); ( 3j) Theme 3 from motive 2, in the same rhythmic pattern 518 Theme 1, doubled in the alto and bass (m. 15-18); (u) TTienne l doubled in the alto and bass with counterpoint frnsrn both motives l and 2 doubled in the soprano and teqaCJr (m. 19-30). Part B, in the key of the dominant, begins with a homophonic section (m. 31-36), followed by .a. section in which motive 2, in the tenor and bass, 115 Sling against part of motive l which appears in both original and mirror forms in the soprano and alto respectively (m. 37-112). Part A returns with section 3 0n. L%2-H5) and section u (m. 46-52). Part C (m. 53-66) CC”“35.sts of motive 2 in its original and inverted forms, in Sequence, in augmentation and with numerous palindrome constiructions. The third phrase of Part A (section 2) ret‘lrfins in the alto as an ostinato while the SOprano and tenxxp. double in an augmented version of motive 2 (m. 66- 71)‘- Then Theme 1, rhythmically altered, combines with mOtJUVre 2 in the SOprano and tenor while alto and bass 151 sing an expansion of motive 2 (m. 72-80). A coda climaxes the work in m. 81-91. The lp-ha-kyu concept is applicable, with the .LO. (introduction) in m. 1-8, the _h__a_ (exposition) in m. 9-80, and the flu (resolution) in m. 81-91. A concerto grosso effect, resembling that of a response, is accomplished by the contrast between two- Voice doubling and full four-part texture. Alto and bass doubling in m. 1—8 are followed in m. 9-15 by a four- 8 voice (although two-part) texture; again the doubled alto and bass enter in stretto in m. 15-18; the four- voice structure of m. 19-112 retains the two-part implica- tion of the doubled alto and bass against the doubled soprano and tenor. The homOphonic four-part texture of m. 31-36 precedes the return (again in stretto) of the doubled alto and bass (m. 42-145). The paired four-voice section of m. 146-52 is succeeded in m. 53-66 by a poly- phonic four-part texture. Then the alto alone enters in Stretto in m. 66-67, succeeded by a three-voice texture in “'1- 67-71 and a four-voice texture in m. 72 to the end. The form is not really determined by the text PhPaSes but a definite relationship is revealed. Melodic reca~Il>itu1ations accompany textual repetitions. Both words and melody of m. 142-145 duplicate 15—18; the alto and bass of m. 1t6-52 sing the same words and music as in m. 1‘8 and 19-25; the alto ostinato of m. 66-71 repeats 152 m- 9-11 with only the first note altered; the soprano of m. 55-58 literally repeats both melody and text in m- 59-62. The poetic structure and the form of the music display an interesting correlation, especially in the coda. Part A is set to the first two lines of the poem, and Part B to the third, with a brief return of the first line in m. 1&2. Part C includes only the third line; the final return of Part A combines the first and third lines. The reminiscent quality often characteristic of a coda is revealed in Mennin's treatment of the text in this one. The coda begins with the last line of poetry, but adds the second line and a brief excerpt from the third line at the very end of the composition. The exceptional unity of all four compositions may be attributed to the close relationship among the motives fundamental to each. Motive 2 of "A Song of the Palace," the Eb-D-Eb (descending half-step and ascending half- Step ) has a or: c‘rhythmic design and encompasses a two- “Ote range. Motive 3, a three-note scale passage, retains the rhythmic pattern of motive 2. Motive l of "Crossing the Han River," A-G-B (deSCending whole-step and ascending major third), with a J J (i. rhythmic scheme, is a melodic expansion and rhythmic augmentation of motive 2 of "A Song of the 153 IDEllace." Motive 2 consists of the retrograde form of rncptive 1 plus the first part of motive l. Motive 1 of "In the Quiet Night," a minor third, j.nnitates the beginning of the bass of "Crossing the Han Fijgver" (from the retrOgrade inversion of motive 1 of "CZrossing the Han River"). Motive 2, G-A-G, is an inver- sijon in augmentation of motive 2 of "A Song of the Palace." CPrle fugue subject imitates in diminution motive 2 of "Ckrossing the Han River." Motive l of "The Gold Threaded Robe" repeats motive 2 cxf "A Song of the Palace" (and the inversion of motive 2 cxf‘"In the Quiet Night"). Motive 2 consists of the sainnea scale passage as motive 3 of ”A Song of the Palace." Thus especially close relationship between the first and least: pieces of the group tends to impart a cyclical cast ’50 the form. CHAPTER VII BENJAMIN BRITTEN'S "CURLEW RIVER"62 Benjamin Britten describes both the circumstances p>rnompting his selection of Sumidagawa as the source of (Zlaxelew River and his intentions with regard to his own wwsrdcz It was in Tokyo in January 19MB that I saw a No- drama for the first time; and I was lucky enough during my brief stay there to see two different per- formances of the same play--Sumidagawa. The whole occasion made a tremendous impression upon me: the simple, touching story, the economy of style, the intense slowness of the action, the marvelous skill and control of the performers, the beautiful (costumes, the mixture of chanting, Speech, singing Inhich, with the three instruments, made up the Estrange music--it all offered a totally new "operatic" experience. There was no conductor--the instrumentalists sat C>n.the stage, as did the chorus, and the chief czharacters made their entrance down a long ramp. TThe lighting was strictly non-theatrical. The cast Vvas all-male, the one female character wearing an EExquisite mask which made no attempt to hide the rnale jowl beneath it. The memory of this play has seldom left my mind in Tlhe years since. Was there not something--many t3hings--to be learnt from it? The solemn dedication E1nd skill of the performers were a lesson to any Esinger or actor of any country and any language. ‘Nas it not possible to use just such a story--the ESimple one of a demented mother seeking her lost cJaild--with an English background (for there was r10 question in any case of a pastiche from the Etncient Japanese)? Surely the Medieval Religious \ 62Benjamin Britten, Curlew River (London: Faber and Faber Ltd., 196A). l5u 155 Drama in England would have had a comparable setting--an all-male cast of ecclesiastics--a simple austere staging in a church--a very limited instrumental accompaniment--a moral story? And so we came from Sumidagawa to Curlew River and a Church in the Fens, but with the same story and similar characters; and whereas in Tokyo the music was the ancient Japanese music jealously preserved by successive generations, here I have started the work with that wonderful plainsong hymn "Te lucis ante terminum," and from it the whole piece may be said to have grown. There is nothing specifically Japanese left in the Parable that William Plomer and I have written, but if stage and audience can achieve half the intensity and concentration of that original drama I shall be well satisfied.63 William Plomer, who has an intimate knowledge of Japanese culture and wrote the libretto for Britten's earlier Opera Gloriana was assigned the task of translat- ing Sumidagawa (Sumida River), written by Jfir5 Motomasa (1395—1459), Zeami's son. The drama is transplaced into a medieval English fen setting with a totally Christian orientation. It is recommended that the parable be performed in a church. The "play within a play" adheres to the original plot, and Plomer parallels the Japanese story with remarkable fidelity but expands the libretto. A comparison of the two libretti may be seen in Appendix 111. Every detail was worked out with meticulous thorough- ness. A totally original format of staging and performance was devised in order to retain the noh economy of style and 63Benjamin Britten, "A Note by the Composer," included among notes on the record jacket of Curlew River (Decca Record OSA 1156 A4156), p. l. 156 movement and to match the lucid and carefully structured music. Colin Graham, director of the original production at the Aldeburgh Festival in 1964, organized a series of production notes and suggestions governing the performance style of Curlew River so as to insure an accurate inter- pretation of Britten's intentions: The movement and production details should be as spare and economical as possible: the miming, which plays an integral part, is symbolic and should be pared down to its quintessence. Once the spectator becomes geared to the convention his emotions are imperceptibly but passionately involved in a drama doubly distilled by the very economy of its theatrical means. Such involvement can be shattered by a single uncontrolled, weak, or unnecessary gesture. Every movement of the hand or tilt of the head should assume immense meaning and, although formalized, must be designed and executed with the utmost intensity: this requires enormous concentration on the part of the actor, an almoSt Yoga-like muscular, as well as physical, control.64 The rehearsal score differs somewhat from the more conventional score, and Imogen Holst, who prepared it, gives explicit directions as to its interpretation. The flute, harp, viola, horn and double bass are grouped on two or more staves in a clear and legible fashion. The organ and drums are given separate staves. The sign ll appearing on the drums' staff indi- r cates "tremolando with a gradual, unmeasured accelerando."6) 6U'Colin Graham, "Production Notes and Remarks on the Style of Performing Curlew River" (London: Faber and Faber Ltd., 1965), p. 3. 65 Imogen Holst, "Introduction" to Curlew River score, p. ix. 157 Sometimes simultaneous voices or instruments move at different rates of speed from each other; the score markings clearly specify the differences. Dotted lines are used either as auxiliary barlines or for purposes of clarity when two different tempi occur simultaneously. Under these circumstances the dotted barlines are not aligned and should be considered merely approximate. Solid barlines are used only when all singers and players arrive simultaneously at the beginning of a new bar. , There are many occasions, throughout Curlew River, where an ordinary pause sign is not adequate for conveying the flexible fitting-in of the different tempi. The signIY\('curlew' sign) over a note or rest shows that the performer must listen and wait till the other performers have reached the next barline, or meeting-point--i.e., the note or rest can be longer or shorter than its written value.66 No conductor directs the music. Instead, various leaders are designated throughout the work: a member of the hayashi, a singer or even a movement in the production may lead or cue the others in chamber-music fashion. Such total integration of orchestra and performers requires intensive rehearsal, and the production plan and location of the hayashi are so arranged as to facilitate the pro- cedure. In Appendix IV, the stage set for Curlew River may be compared to the noh stage. The parallels are quite apparent: Colin Graham's set seems to be a circular adaptation of the noh stage. 66Ibid. 158 The prologue and epilogue to the "play within a play" are presented in a natural but decorous manner. In the enactment of the inner story, the Madwoman, the Ferryman and the Traveller wear masks to aid in retaining and enhancing the ritualistic quality of the movement. No emotion should be revealed through the eyes or face. The art of acting in masks is one which can only be assimilated in extensive rehearsal and with constant experiment: with every angle or tilt of the head a well-designed mask can take on a life of its own. This can only be learnt by observa— tion at rehearsal and constant practice in front of a mirror.67 Here Curlew River departs somewhat from the noh tradition, in which only the shite wears a mask, since everything in the drama revolves around him.68 In a review of the debut of Britten's parable, Jeremy Noble refers to a poem the composer had chosen to set in his Nocturne; Noble considers the words a fitting preamble to Curlew River: But who that beauteous Boy beguiled, That beauteous Boy to linger here? Alone, by night, a little child, In place so silent and so wild - 69 Has he no friend, no loving mother near? The poem does seem to be eminently appropriate for the drama of a mother seeking her lost child. 67Graham, "Production Notes," p. 5. Japanese Noh Drama, p. xv. 69Jeremy Noble, "City of London Festival," Musical Times (September, 1964), p. 668. 159 Curlew River Opens with the entering procession of all of the participants in the performance, chanting the compline hymn Te lucis. The Abbot, monks and one of the acolytes will serve as the cast and chorus, three other acolytes as stage assistants. Lay brothers carry their instruments. A flute (and piccolo), horn, viola, double bass,harp, five small untuned drums, five small bells, one large tuned gong and a chamber organ will provide the orchestral accompaniment. The Abbot addresses the con- gregation, introduces the inner story and sets the scene. The monks who are to play the Madwoman, Ferryman and Traveller are then ceremonially dressed for their roles. The monk's garb is replaced by the half-mask and colorful costume of 222: And so the inner play begins. It is spring and a ferryman is about to row his passengers, a group of pilgrims (represented by the Abbot and chorus), across the Curlew River. A weary traveler approaches and joins the passengers in the boat. The Madwoman is heard in the distance, frenzied, distraught; she arrives at the boat and collapses. Weeping, she relates that her son had been kidnapped and enslaved; the over- whelming loss had affected her sanity and she has been wandering frantically in search of her son ever since. She too boards the boat and the Ferryman casts off. Halfway across the river, the Traveller inquires about a crowd of people on the opposite bank. The 160 Ferryman explains that they are gathered for a commemora- tive service in honor of a sad event that had taken place a year ago this day. A young Christian boy who had been kidnapped and enslaved had reached the river bank. Ill and too tired to proceed further, he had remained there; when death became imminent he had requested burial at that very spot. The river folk now believe him to be a saint and insist that his spirit has actually been seen. The boat reaches the bank, the sail is lowered and the boy's tomb can be seen. All but the Madwoman and the Ferryman leave the boat and approach the tomb, singing prayers for the boy's soul. The Madwoman questions the Ferryman further and tragically concludes that the boy was her son. The mother is led to her son's grave to offer a prayer for him. As all of the passengers chant their prayer the child's voice is heard echoing their chantl He appears above the tomb and speaks to the Mad- woman, reassuring her of the immortality of the spirit and promising to meet her in heaven. The mother, trans- formed, is freed of her madness. As she kneels the monks come in front of her and conceal her. She, the Ferryman and the Traveller resume their monk's garb; the Abbot readdresses the congregation, exclaiming to them of the miracle, "how in sad mischance a sign was given of God's grace." All of the participants in the drama form a pro- cession and, again singing Te lucis, file out. 161 Melody According to Britten himself, the compline hymn Te lucis ante terminum serves as the foundation of the entire work (see p. 155). A translation of the hymn proves it to be a most apprOpriate one for this tale of a distracted mind beset with "fears and fantasies" reassured and made whole again through God's grace: Before the ending of the day, Creator of the world, we pray That with Thy wonted favor Thou Wouldst be our Guard and Keeper now. From all ill dreams defend our eyes, From nightly fears and fantasies; Tread under foot our ghostly foe, That no pollution we may know O Father, that we ask be done, Through Jesus Christ, Thine only Son; Who, with the Holy Ghost and Thee Doth live and reign eternally.7O In view of the structural importance of Te lucis, the mode upon which it is based assumes special sig- nificance. The four-note ambitus obscures the mode 71 but the Liber Usualis declares the hymn to be Hypodorian. One can assume, then, that passages containing the hymn or music displaying the same intervallic relationships may be considered in the Dorian mode. The Dorian scale, corresponding to the Japanese yo scale, figures 7OThe Hymns of the Breviary and Missal, ed. Rev. Matthew Britt, O. S. B. (New York: Benziger Brothers, 1936), p 39 l 7 The Liber Usualis, ed. by the Benedictines of Solesmes (New York: Desclee Company, 1963), p. 540. 162 prominently in the parable. In Example 21, the Phrygian hymn Custodes hominum is sung in the Dorian mode with a portion of Te lucis appearing in counterpoint to it [Example 21, page 97].72 A variety of other scales are used in Curlew River. The ritsu (folk pentatonic) is outlined in the chord played by the organ in a typical koto tuning [Example 22, page 1, no. 31.73 The Madwoman sings a brief song outlining the ritsu scale [Example 23, page: 25, no. 56]. The gagaku ryo scale on D (ichikotsucho), D-(E3D—F#-(G)-G#-A-B-C-(C#)-D and the gagaku ritsu on A (nguikicho), A-(B)-C-D-E-F#-(G)-A, may be seen in Exanuales 24 and 25 [Example 24, page 5, no. 8; Example 25, puage 5, one measure before no. 9 and no. 9]. As the Doriaaa scale corresponds to the Japanese yo scale, the PhPYEgian, which appears quite frequently in Curlew River, corrensponds to the Japanese in_scale. Te lucis, sung in the E: Phrygian mode by the Traveller, Abbot and chorus, pPOVixies bitonal counterpoint for another transformation 0f tile: hymn in Bb melodic or harmonic minor [Example 26, D- 61., no. 133]. The major scale alternates with the K 72Page numbers related to in this and subsequent $fisiCE1l examples from Curlew River refer to the pages of e O’r’iginal score published by Faber and Faber. th 73Rehearsal numbers, enclosed in circles, appear wi§°u+£hout the score. For purposes of identification they 1 tDe referred to, as here, by the abbreviated "no." Ferryman g: Traveller Auxn a .Chorus " (n Organ out I nstr. 163 Example 21, page 97 PC: I MA 1! Pt . 3) as hr‘ ' I Ami(l_i____. to Uhtarn --.---—F Hip-O PP /‘.r I T newt I Cu-sté-des h6-mi- hum...— F N _H at AMA mafia; 1‘ l’ v 164 Example 21, Continued Ferryman the num-ber-less.... dew zaN-m- &M.H. flawflbr (in - IOS. ge An psél - u - mus 165 Example 22, page 1, no. 3 measured (misura to) 3 Organ [Mums P 4|” (no cresc.) always sustained Drums always p Ill” .56 166 1e 23, page 25, no. nxamp . . . . a a H In . |I|alll|ilvbilvmr a a _m 1144-31 1. I'll Eqmnvl ‘ fl. . Iv. l/ a\l\l\l\l\l \(I\/))\I\(I\I\I\I\I\I\I\ _ I T I. 4”“..deth -HIHMHH a p - o . N u u - 82 .5343: ICE to & kw: ES :5: ea - 2 Icne‘ .5); was: .22. 305.06 In on m: U306 m So . 53> Pu. m mm .805 «outmmutmkoutmmucau WM:&51 4ilIm+I .IdTlarllex . “H. a i ‘13:; : 1 1 C/.- . i: l - 11% m. imwflelllz illdl . Z>Q<2 3cm .5 mi «.29? com: :56 9:: com: mtcfim mafia Emu be: en 2cm >3 5 2:83 .3 @WM 6ch : mm .20: 9: 2 c9: :2 9: o. modem 26. a v.32 new >50. .2. an moat—u mam 'J)SU| 167 Example 24, page 5, no. 8 algvely They exhort the congregation. wv7csertSie rulen die Game/ode aut \ Abbot way , Ein - Sam ster- ben Pray ___I— Baritones [5‘5" Be - ' en Pray for fall By way- Be - for See — Ian, die ster- ben Basses [Sufi MONKS Pray for the sows of By the way-side, Be - let for See - (en, ' Ein-sam star-ban Drums 5/ Abbot Bt. MONKS Organ Drums 168 Example 25, page 5, one measure before no. 9 and no. (9 a.,_- fer r r r t t 1'. r - - ‘ Orraise Our God that lift-9th up The 0 (an dwwtnn,dv we er-hdw,am _, , 11,.____ .m —- 2- é :5 ,' Ft'aise that Lab! er - 11' ft 1" 1% if i - i t* 51 ‘9 —1L ‘1' ' L ' r Praise our God that Ldfl mm Hmrh, a‘ __—_ f ' f‘ f‘ 1* 1' -— -— L l I] I‘ LA 11 11 J‘ I) F r 1 11 ll I: ll L II I: 7 e14 ' v v 1 v L r y r ea la" a-lone- Praise outed that lift—9th up The Lab! denHerrn, der die er- hebt, Die I a If - - 117 ‘1 J ff _.; :I‘fi‘ l _1‘ L—+~_—i ‘r in‘ _ E ¥¥£!'fij}‘én {% ‘ ‘* T 7 r J T ' 1L «5- o/ r» Ji- 1 Y : ?\ I! f — — ‘7’ -5_—;, ,geLJ c 169 Example 26, page 61, no. 133 The MADWOMAN weeps. Die IRRE want. (A Traveller, @ Abbot 8. Chorus Organ Harp 170 Phrygian, presenting two forms of the second and third [Example 27, page 8, line 3]. The unaltered major scale combines with a functional harmonic sequence, enhancing the quality of resolution implicit in the child's words of reassurance [Example 28, page 116; line 2, page 117, line 1]. The whole tone scale recalls the impressionistic color of sho chords. In Example 29 an ascending whole tone scale is followed by another descending one [Example 29, page 9, no. 21]. Bimodality provides a vital structural element, with two forms of the third not only in chords but also in scales. The F and F# of D Dorian and D major (Example 30) contribute towards a microtonal effect, especially since the unisons in 3 meter do not quite coincide with those in i. Also the passage vascillates from one scale to another: Dorian to major to whole tone [Example 30, page 10, nos. 22 and 23]. Bimodal major and minor scales are clearly manifest in a sequential passage [Example 31, page 27, nos. 61 and 62]. The major scale, played in unison by the strings, results in an illusion of microtones because of the sharped tonic pedal intoned by the horn and the E Phrygian melody sung by the Traveller, Abbot and chorus [Example 32, page 65]. The Traveller's song displays its Lydian structure with its emphasis on the sharped subdominant note [Example 33, page 14, line 4]. The chromatic scale serves as the fixqman lnstn 171 Example 27, page 8: line 3 in“ 172 Example 28, page 116, line 2; page 117, line 1 SPIRIT (oft) GEBT(wwrkwuv m Goymurumy ha pear, mo-flwn Thedeaisnml fise a Mm in Frie-den 90h: Mal-fer. Die To - ten sle - hen .flwuyspp (kgan 222:. CT ‘—=::: f-—==:::: :::="FP irit 0") And in that bies-séd day We shall meet- in heav'n. Am Auf- er- SfP‘hungs tag Se - hen wir_ uns dart. 173 21 Example 29, page 9’ no. Ferryman Instr. Drums C H 0 R U S qun Instr. 174 Example 30, page 10, nos. 22 and 23 Tenors and Bar Hones king —doms the Be-tween two ‘ ' Rei - Chen h/n n .- ver Zwr- schen me: O sfr In! der rs - ver flows; sfle'rmder FIu/J; king—dams the Ref -chen hin always this Side dIes - sells CHORUS the das thus side dies - seifs Organ 7" WV 175 Example 30, Continued 99.4 CHORUS Land of the wafl-li- d» Omnn dim. "ISV 176 Example 31, page 2?, nos. 61 and 62 (Allegro) ' Chonm Dew on- the %rass bu aML am» as 4* Ckgan __.—-_':—’:f - les like- Hoff - nmgs-voll. Dew- on_ the grass Tau- au!_ dern Gras hope strahl! Organ ”‘1 “mf—é And_ then is gone Dew- on._ the grass les Und— din" "5* 99h! Tau... auf_ dem Gras Haff- nmg .mf 177 Example 32, page 65 low as before iienfopomesopra) (Own tempo: J slower than irstrurnents broad Ly gllargamente) 178 Example 33, page lu, line u (Own tempo. J slower than instrumerds‘ J ) wflp r—3—~ r—afi ”M >— ‘ A ___._ _. _ L k L 1 — .. ’— " t. - _(___.‘_.‘_‘_~ r r r v ‘ v Y I come from the West land, Ich komm aus aem West-land, aus dem West-land auf der Rei- se._ __‘ from theWestland, on a journey...— #3 "fl repeat ( in tempo) 179 basis of one of the Madwoman's melodic patterns, the curlew motive [Example 34, page 22, lines 1 and 2]. Curlew River shares with both Wagnerian drama and 292 the unifying element of melodic patterns or motives serving as the structural material throughout the work. Example 35 shows the principal melodic patterns. Harmonic implications of the melodies run the gamut from simple triads to quartal and addedfnote sonorities. The first phrase of Te lucis, for example, suggests simple harmonies, F# minor and E major. Motive E-l outlines a quartal harmony. The Ferryman's melodies in Example 36 clearly delineate the simple triads Bb minor (m. l) and F major (beginning of line 2)_[Example 36, page 57, lines 1 and 2]. Simple triads are evident also in the Traveller's music (Example 37). The Traveller's approach is accompanied musically by minor triads, beginning with D minor. Played on the harp, they resemble both the wagon's patterns and color [Example 37, page 14, lines 2 and 3]. The Traveller's theme itself suggests an added-note sonority, outlining the C major chord plus the sharped fourth (Example 33). The Ferry— man's melody in Example 38 also implies an added-note sonority, F#°m7+2 [Example 38, page 13, line 1]. The Madwoman's motive E-7, outlining the folk pentatonic scale, implies a B added—sixth or G#m7, perhaps alternating 180 Example 3“, page 22, lines 1 and 2 passimare A .m. thwarm l‘-rL 1 IL 1‘ g g 1 (Off) : 7 3 I Where the nest of the . Wo chs s! mei- ner n E ' V v r ' Travellergl!..!§§l!ll". 3! H! i seems “E be cra—zy. Theysaysregirom the-Black Mow'tains. istsdzeiInarir- re mnsaguiekarmi WIMSChm on. ‘g \ Traveller I t .__ m Db. f - L I paSSImare 2 n v H’ n Malian «fifl Where the eyes at the car-ri-on crow - 1 wad/e Au- -gndes Ne - m-kréh'— 1 I i Wot. Travetler Thepeopleuere Dieleu-fe un-(e 181 Example 35, Principal Melodic Patterns Example 35a. Te lucis ante terminum (shown in its entirety because of its predominance in the parable). (m) 1:. Example 35b. Abbot's motives, the first of which is the religious motive, clearly taken from the first phrase of Te lucis. Example 350. Ferryman'; motives (rowing symbol) derived from the A-G -E-F of the second phrase of Te lucis; a bimodal motive combining Dorian and major, resulting in two forms of the third. 1&2 Ibcample 35d. Traveller's motive (the disjunct motion implying his traveling a considerable distance). Exzunple 35c. Madwoman's motives: (l) Motive of the demented mind and of the curlew birds. (2) Motive of madness (distortion of the second phrase of Te lucis), constructed of a figure and its retrograde form and featuring two forms of the third. (3) and (u) Motives of weeping and despair. em .rl‘i i JILL r“ 183 (5) Curlew motive. (6) and (7) Motives of confusion (outlining the ritsu scale). Exanu3ie 35f. Harp pattern (like wagon), associated with the Traveller "slowly trudging. 1814 Example 35g. Choral motive of comment, in the Phrygian (in) mode. ha «Li H}... H Example 35h. Rowing motive. Example 351. Curlew motive (similar to tne rowing motive h). Example 353. Walking motive. new? at 4-! - .Hh HIE _. f) Example 3p, page 57, lines 1 and a 6| He poles once. F _ e "y man :==—..._ PP Er slakt einmal. . mf < down__ he lay onthegrassnearthe cna-pel. (99f... sich bin in dasGras beider Kir-che. Organ ——/ try cresc. >- Ferryman “35“": :i g. a.” ’gagé-T struck_ hum. He was a man without... a heart, schlug__ ihn. Er war ein Mam ganz oh - ne Her: F“ _ _ _ _ _ __ ___.- . -- ,_ ______.___,_,,-__#_ “J ' -- :_._‘:;:* -_.. _______'.'__..- :_._:_ qT " Organ i \ _ 186 Example 37, page 14, lines 2 and 3 Slowly trudging (Andante pesante) Harp P ”Ti"! rt 1' [rhemqflurmmhflmd) —-==== lnstn Instr r b. pawn—saw) - 187 Example 38, page 13, line 1 188 with F# major, while the accompanying strings delineate quartal sonorities (Example 23). The Abbot's motive 2 suggests the Fm? chord (Example 35b), and dominant seventh chords are implicit in the melody sung by the Traveller, Abbot and chorus in Example 39 [Example 39, page 52, measures 2 and 3]. The tonal organization alternates between vague or rapidly changing tonality and readily discernible tonal centers. Linear construction and stepwise motives often tend to make the tonality vague, especially against apparently unrelated pedals and ostinati, as in Example U0 [Example 40, page 58, lines 1 and 2]. Persistent use of sequence results in extremely frequent modulations. In Example bl the rapidly changing tonality is further obscured by the quartal harmony outlined by the accompany- ing instruments [Example “1, page 78]. The tritone also renders the tonality indeterminate at times, as can be seen in tle Madwoman's motive E-l (Example 35e-l) and in Example “2 (measures 1 and H) [Example “2, page 70, lines 1 and 2]. The tonal centers and patterns of modulation may be seen in Figure 16. Rehearsal numbers are used for identification, since barlines do not appear consistently, SO that measures cannot be numbered. When tonality is definitely discernible, modulation occurs most consistently at the interval of a fourth or fifth (twelve such 189 Example 39, page 52, m. 2 and 3 >MI> ) mi:— Traveller, Auxnt Chorus Di- vid-ing per - son from Du lrennsldean-sdien van A 89- tween the Landsat East and West, ZWi-schm an Rei- ohm mt um West. q 1 ‘ b1 ‘31.... Instr. 190 Example “0, page 58, lines 1 and 2 p Ferryman A-bandon'd by his master, the boy ”P A_ Ferryman I: l I . |__'- lay a- lone.._ The -———— 5 7. V Organ ham: 7- _l...“ _ _,-_-_____ ' r ‘1 . ' U T ri-ver people pitted him, tookcared him. But he grewweakeram weaker Instr. § 3’ 191 Example “1, page 78 f‘! r'" _— Take me back, take me back. f' ._ _ Tell me now ' Chain on my soul. IM me 90" Instr. 192 Example #1, Continued ran. drm . : : Chain on mv soul butt me Chain on my Omnn mums Wan She Sims down. Dunn 193 Example “2, page 70, lines 1 and 2 WNNMBhSnmmfl ‘Mhswmsathne? Itddyw. remashnwe khsgnsmuiawuvzwan Instr. mums '"l Butltddymlfllirban Mnfl xwwhmtwwma Nfltbwheoam¢em Ich mfiW‘dI‘r van ihm a! - (as! 5‘9"" ”‘5 9’ “9’ Und M"? or her-kam 19“ m wpmucmo Hmcoe ** .mponesc Hmmnwonmm m pom .pr n»: a»: com .IIIIII.1IIIIJ sq i1IIIIIJ «m i *0 i o i w i a i am Amamv . Amamv flmmg gum cum cam nus fills] lIIIIJ 1" m i < i o i no i o i m i < Q n< pm i Amomv Asmav Ammav Aamav Ammav Aosfiv Ammav Aamav pom pom pom ppm 3»: - pom pom no: ohm fillllsfilllllJ 1llll.. __ ls. J W: .EqIIIIIJ ‘IIIIIIJ I < pm < o o «m ¢ i m < .i m Amway Ammav Aamsv Ammfiv Ammav Ammsv AHNHV Amado Amado Areas mocmsumm AHmCOpzaoov Aamcoufiov AHwCOpan mpaamcou o .m .n< i am cam pm i 0 can n< a mcnpmsposan Ammv Aamv Amsv wcHQMSpozam AHmCOpHnV zufiHmCOp 1LWWWJ mpaamcou m can odwm> < wow 0 mcfiumspOSHm i < i m weapmSposam Ammv Ammv Asmv Ammv Azmv nu 1lllmlJ zuHHmCOQ wcfiumzposam. 1nmmPJ o I o .mocmsumm a i < i zuHHQCOp weapMSuosHm Ammv AHmV Aomv Ammv Asmv :pm a»: no: new _.I.J]J 233 32.3 I J] i < i o i a ca ammmH m< CH msco amoacm o i o i asam Ammv Ammv Amav Amv Amy .AHV Figure l6.--Tonal Organization. 195 modulations as Opposed to six at the interval of a second, four at a third and one at the tritone). Frequently the tonal center shifts while the notes remain the same as in the previous key, as shown in Example 21. The duet sung by the Ferryman and the Traveller appears to be in D because of the D pedal point played by the organ. The same notes are encompassed in the next section (Example 43) but the tonality is that of A because of the instrumental emphasis on A as well as the chordal cadence on A [Example 43, page 98]. As mentioned previously, both Dorian and Phrygian modes are used frequently throughout. The melody moves freely between the two, as can be seen in the Ferryman's vocal line of Example 44 (Bb Dorian and Phrygian), and in the Abbot's melody of Example 45 [Example 44, page 58, line 3; Example 45, page 89]. The melody often stresses notes above or below the tonic. In Example 46 and Example 47, A is emphasized in the key of G; both Bb and B are accentuated in the key of A (Example 48). The seventh scale degree (F in the key of G) receives emphasis in Example 49, and both leading tone # and B in the key of A) are stressed in and supertonic (G Example 40 [Example 46, page 2, line 2; Example 47, page 56, line 1; Example 48, page 9, lines 1 and 2; Example 49, page 56, no. 124]. 196 Example 43, page 98 “d, And ' to the gIo-n-ous saints, Ga'- - - abdenHH-h-gn__ b— Traveller ho-ly and glo-ri as.— see- fig udgloerer‘dm .. 0" Na-IL'i-rae fra- gi - - Ii quos Pé-ter éd- di - dit Bells "58f. 197 PP avidly Example 44, page 58, line 3 t: _; ._ "I was born',‘ he said, "in theWestern Mar - ches; frommy plI-Iow,_ when -—— "khbhgflnflfiEKWHZ "Muefldewnflhr- Mm; wnrnahanflyL_wan fiquun Example 45, page 89 -ABT ppfreely m A He whose life was full of pro“- mise Vol! Ver- spre - chen war sein Le - bm pp(wnhaqmn) Basses Pro - mis'd,__ and Ver - sprach__ und 198 Example 45, Continued She who feels her life is pass-ing, Schwin-dendJUhlf sie, is! ihr Le - ben J——l e Bro thers have come to- -day._,‘__T PP She_ is left Und__ SIP bleib! Example 46, page 2, line 2 oshow u- a mys- ry:_..‘ Hear 112- men die Bri'i- der her...‘_ Ein Wu ermch... auf- zu- -fu'hr'n fl f l W: . . L‘ 4; . . 'rr: $ arm 1 J; 4% V ‘ V J 41r- 199 Example 47, page 56, line 1 f2 Therewas a bay with him, a gen-fie boy, twelve years old_ maybe Esiurunamrnfl’Mnn ambnrwramx zudfiJflr’aN__ dwmm Example 48, page 9, lines 1 and 2 Rm — lamiri- wm F1n5._ (iv Mw- wen '— Instr. 200 Example 48 , Continued 99 \\ e - - ve—ry weather, ln.je - aDmWeI- fer l_. row, __ row. Ich- stak,_. sfak, sfak Instr. Example 49, page 56, no. 124 He poles once. Er sfa Id einmal. gs—d Poor child. Whenwehad cross'd._ the ri-ver, hesaid he was too weak Ar- mes Kind. Nachdemder Flu/i_ U-beesdirfl-Ien, sagf' er, er sei zu schwach @ 201 Songs usually begin on the second or fourth note of the scale instead of the tonic. Te lucis, the opening hymn, starts on G#, the supertonic (Example 35a). The opening organ passage (Example 22) begins on C, the subdominant in G, which proves to be the tonal center, as can be seen in the subsequent passage illustrated in Example 50 [Example 50, page 2, line 1]. The hymn Custodes hominum (Example 21) also begins on the fourth scale degree, D in the key of A. Sometimes other notes of the scale (eSpecially the fifth or seventh) are repeated before the first appears. In Example 36 the Ferryman's melody modulates to C after the first measure, but F is repeated several times before C appears. In Example 51, D# reiterates in the Madwoman's melody before the vocal line reaches the tonic G# [Example 51, page 75, nos. 159 and 160]. The submediant tone frequently acts as a leading tone, moving directly to the tonic. In the curlew motive (Example 35) the tonic E is approached by C. The same pattern is emphasized by sequence in Example 52, in which the melodic line moves from D# to F#, from F to Ab and from G to Bb, while the instrumental accompaniment repeats the original progression from C to E [Example 52, page 77, lines 1 and 2]. Tones a whole step below a note or a half step above function as neighboring tones to it. In Example 44 202 Example 50, page 2, line 1 ABBOT ,—--——- AB P A . . db! P - - , art—fie I r . . - ‘ “ _¥ 4 7% £59 . . Good souls,— I would have you I know Hear» de.'.___ hair! era! was rch . so - 9e _— r— A ’___ ' H 7:95” a egg-f .— ’—-—--- q \— l ‘ : T r Organ ’0 : l ' i r’“- _ :‘i a r 8 ‘77 __ 'fl.‘ 1. , V \‘ r —‘ L‘$‘_’==_u ' ' \. . I '- ' I > : > I Druns l: " ; A :‘g—g—i :+$=¥: h-Jd Example 51, page 75, nos. 159 and 160 (A Negro} f m O Cur - - - Iew.River.crueI Curlew, dawmunmuflvMflmom Instruments 203 Example 52, page 77, lines 1 and 2 3——‘ r——’3—fi F—'J"_'| m @ lawman I is do-voured by the ar- ri-onl crow... mrdzer-hackfimder Ne- - bell- kra'h... Lit—fl ((3) : Instr. Organ Drums Instr 204 Example 52, Continued > GE in-no-cent lamb. .. muwmmflge memnu 205 the Eb of the C-Bb—C included in the quintuplet acts as a lower neighbor to C. Other typical lower neighbors a whole step below a note may be seen in the D-C-D of Example 53 and the B—A—B of the Abbot's melody in Example 54 [Example 53, page 68, no. 145; Example 54, page 28, line 3]. Upper neighbors a half step above a note are exhibited in the B-C—B of the Ferryman's melody (Example 55) and in the B—C-B inversion of the weeping motive, shown in Example 56 [Example 55, page 59, line 3; Example 56, page 90, no. 187]. Many of the melodic patterns are based on perfect fourths, with a strong emphasis on sevenths, as in nohgaku. The Madwoman's motive E-l (see Example 35) consists of an augmented fourth and a perfect fourth as well as a major seventh; the first half of the Ferryman's motive C is con- structed of a perfect fourth with filler notes in a glis- sando effect to convey the impression of rowing. This is most evident in Example 57, where the horn's playing of motive C is accompanied by the viola and bass outlining the perfect fourth, and the Ferryman's melody echoes the interval [Example 57, page 13, nos. 28 and 29]. The choral comment (motive G) contains all conjunct notes except for the leap of a.perfect fourth (see Example 35). As accompaniment to true Madwoman's motive E-7, which begins with a perfect fourth, the flute ostinato is comprised of two groups of perIEmt fourths; the harp reiterates a figure composed of a 206 Example 53, page 68, no. 145 FERRYMAN- FAHRMANN I Come a~Iong there,you era-2y soul! It‘s time to land. Komm'sbr'yaus iefzf, du ir - re Frau! Hier isI das Land, Abbot 6‘ Chorus 0'9." Instr. Drums "‘I 207 Example 54, page 28, line 3 Example 55, page 59, line 3 ..... ;“==:: ""'3 I ‘ f‘.-- > > Ferryman . u 1 ._ u—'3“‘J L—G—-J L——-J——J ' walk-ing a—lone in our own fields, I wasseiz'd by that stranger. mh-saanmhfigdwdburanlfib’ luwfiflVnhhdmnmtanmqux " a a °'°“" heel Viola 208 Example 56, page 90, no. 187 ream/MAN FAHRMANN What is the use of tears?_ Was nisz der Ira - nen- slrom? , Big Bell . 1...,4 ... ‘ ' fill: ‘ .J “1“ 3 Whomcanyourweep Memwfzfde'nuei - - "A w.- /\ . «u—ru— ~— - - ing help? nengar? ., m .-_..._—..“..~._.. a--- a...» -— 'O---_~<-M~r~l—h_— ._.—.. ~_—_.. —--__... _ ..._ —. ~ H.” - —-—— _- —— —- ___.., _ —--- - — —_ -———— w’h _—. — Ia .(harmonI'C) M--~-v -- _s—o -—~. —“.—_..—-. - —-—.— _-_-._-~ )d.U-oo-ub§4>; m-c.»~ ~o -mm- -. m.-. _- - “mnouvvfiv-‘o -0 o..- . fivwvei~m~_»ucl———~ ---—..——— » au— ..-—-———------.»— ‘4.-. - .- _ --— ...-.-.-........4---.-..- - 0-.~-‘ if - - ~.—--—-- -.._~-... -._-_—,,. no a” on '0”.>--~ —— —. ”N. 1 — “— —... “W as..-” «- ..-_. _ . _ -...___-- . --...-_--___._._ _-..-.-_-__ __ _.-_-. ___.- -- -- t..........::fl§1--.. -_.,- .. ___-- T - _. -_._ ._..__....__- -..-..........-,. - - -. .- .- . ___-.—1L...— __.._._._ -_.. 209 Example 57, page 13, nos. 28 and 29 j . Ferryman To- day__ is an impor-tant day. Des-halb.__ mmmmrigerrag. Instr. In] hourly Ferryman Mark... this well. Mel-M's- etch gut. Instr 210 major seventh and two perfect fourths, while the viola repeats major sevenths (Example 23). In Example 41 all of the instruments play patterns consisting of perfect fourths and major sevenths. The harp ostinato of Example 58 is constructed of perfect fourths [Example 58, page 81]. The minor seventh interval is emphasized in the string glissando of Example 40. Very often motives are sung individually and then combined. The Ferryman's motive is sung alone (Example 57) as is the choral narrative (Example 10); both are combined in Example 59 [Example 59, page 19, lines 1 and 2]. The Madwoman weeping motive E—3 appears alone and is then combined with the choral narrative [Example 60, page 32, line 1; page 33, line 3]. The Madwoman motives E-l and E—3 are juxtaposed in Example 61, and in Example 62 the motive E-2 is added [Example 61, page 48, no. 106; Example 62, page 75]. A rowing motive, consisting of ascending and descending glissandos (see Example 47) is combined with Te lucis (Example 63); the two hymns, TE lucis and Custodes hominum, are combined in Example 21 [Example 63, page 63]. An exceptional variety of dynamics adds to the dramatic impact of Curlew River. The opening hymn starts almost inaudibly as the entering performers proceed to the stage. Dynamic markings occur in every measure of Te lucis (Example 64) and range from if to pp. Changes 211 Example 58, page 81 >— @ PP ,_' dim. :— HP Let me in!.__ Let me out! Letme in! La”! midi ein.’__ mm mich aus.’ baflfmich ein.’ Ferryman Traveller A dying away 2 212 Example 59, page 19, lines 1 and 2 «w ® m Travel [HIE - . ‘T . 1 I; . i m :Hn v I ‘ i 5 U ' u m f\ fix :EL““ c no fl, —‘ — Vfi _ I IL i :‘ I l L ' A ml ' EEi—F=Ffi2%L—ffi—f-r-r—Lfl-1——+-¥3 m if D ' I : V \_ ‘b’ \r I a: : .' umg-doms,o__. Ri - r, _ ._ O_n ' g .Zw1- schen me: Why - Chen, 0_ . Flufl,s!rbm’ hm! _ Hier_ ' ABBOTL. Basses .37 ’ I IJ U Ia::u - . A"’., - ‘ = ‘F F gjfiEEEggzzntEEpzzjzszEE A 7 F I I I I I I I I I I I I I I I I 1 I ' | r ' T ' I ' I T ' I T—fi : Be-tween two 'king-doms, O 'Ri - ver flow! __ O_n ' , Zwi- schen zwei :Rei - chen, 0 ' Flu0,stm‘rn’ hin!_ Hler ' n . ‘ I ; Organ [ya . L -— I Z } I Y A A -_ V I I W l’ V F r 1 I I 4 IE ' I I l A J I I I L I I V l I f l I 213 Example 59, Continued ¢ __._._._.._. "‘"N‘ " m A - n ”P: H V a ' i, j, %% #2 {I I) %¥ Weller if??? 4 tr, 4y¥=rlv I —--——4 Fer - ry-man! ' Have- you a 5hr _ .mnn! : @ 1 H35! dU nod) glatz Hxn' —_—__——_ _;1‘ i g ' g3 {£39- Druns T # 3;: ml I :— (PP’ .—. _- T ' l ‘ ’7‘ 3“ l I I I I I j I ' W : BI. l I ‘I I I u I j _J *IHI ‘ m 1 : 0h_. the_.: o — firm dwe ' O ftéfls:£ (_SId?, t'h? , land! (I)I_ (E233- Lard“ I Auf_ der_ : ard' _ fen [bl-ch : '9 ' ' ' ( ) . e I W —— ‘ r. . k? i I m ‘1'- b? :7}: 1: b! fl U 8. I [L 1* 1+ ' g I I ,3 I ‘ B‘ 5 T l I d l I th's side, the ' land of the West, I On "‘9 . ° ,' then dyIte : die 55' - te 2 west- Ii - ches Land, . AUf der :and - rPn DeIch I . . I 1.. .. .. IIIIIIIIIltirIIIIJItw‘ 2114 Example 59, Continued A j- m I . . m $.71 f , “ 1 Traveller. L f E}: __J ----~~-—~~ ’ for me? A f me n boat? tar mich’ : @ r MIMI-m Baal? m r 1 m ‘ 3 fl 1: 4E ... . {we J2. J CI '1 (a DfUfl'IS 1 — j 1: i 1' _. Inf :==-—_ .’ _— u, T KJ===$¥ *—-——~" .3: “3”" .‘=‘-,~r -—-—5"' v- '--- —"— u D : « J I I . 0E and marsh and 'mere. The : Land of... the... o and Marsch and :Mar, Das.___. (and des- dsI- ; I L fi' AHxn ‘"—i‘"—qr——jfig ‘iml IE :3 ”at” 3 I 1 4; + $ t I .L r “a Inn, The :Land of the I .Mar, 035 I M w 05’ ‘ : 1 i ' :5 f; :3 7.: 3 i ”‘7 If If _ if": :T v : e. Organ . I . :t;;""::§i ;iE ’ffiizzzzzfi t r I 1 r j J 215 Example 60, page 32, line 1 and page 33, line 3 ._____5 ‘ 5 Clear and unclear in East.ward I wan—der Klar and un- klar im Osf- uérrs zieh'ich da Instr. ‘lhe MADWOMAN rises. Die IRRE erhebf sich IfglgszAN ‘——— 9 Fer- ry-man,Let meget in-to your boat! _ Fahr - mann,Laflmk:hhinein in dein Boo!!— I I The- i-ver_ : fl —in _ be -:tween to real si_ n_ Ith's side h — Der. FIu/J frennf . hfi. d/eg._ bei -: den__ I??? - cne T— Sui—z " - ser.’ $3 I I I ' The ri - ver . flow— mg be - fitween two realms' __ On :this side, h c er e Der Flu/l trennt : h/er die bet" -- den Ref - Au! .dl'e - s " I! 216 Example 61, page US, no. 106 F E RRYM AN @ . mfismaiwommwsamsflhaghra'nmthwtn wan-cfflmL Ilch mein'die lr-re schemr, Item ihr Ga’sf auch ter- win? (‘51, 217 Example 62, page 75 I M Where myhape issuept a-Wafl— m Drums Madman A nstr. /"_\ (with Harp yissaw Organ Drums L 218 Example 63, page 63 La ha l-I-u. .1 ‘I l’fi b, 11 ‘r w H’ 1!? Fertyman g+ y erryman - le - l - son ! TRAVELLER ABBOT and CHORUS RE/SENDER,’ ABTund CHO}? Harp 219 in dynamics occur frequently, often every several beats. In Example 65 the harp and flute decrescendo from pp to 222.1“ the next measure; after a pause the horn enters with a 3 note, immediately decreasing to 2 [Example 6”, page 1, no. 1; Example 65, page 8, line 1]. Dramatic dynamics are common. In Example 66 the Madwoman sings the phrase "I have come to a grave" in a hushed EBB until the word "grave," at which time the melody not only is sung E but is accented as well, in the largest leap of the entire piece [Example 66, page 86, lines 2 and 3]. In Example H3 the strings reiterate a dynamics pattern of pp < if every few beats. Rapid changes encompassing a variety of dynamic levels enhance the dramatic intensity of Example 67, involving a pattern of m: <> 3 < f < ff dim. > p < £3 <> , all within only five measures [Example 67, pages 9“, 95]. A wide variety of gradations in dynamics is also apparent, ranging from passages even softer than BEE in the piccolo line of Example 68 (ppp >) to the crescendo from £3 in the small bell shown in the previous example [Example 68, page 116, line 1]. Tone quality varies to a greater degree than is usually found in Western music. Careful notation and instructions indicate the composer's concern that differ- ences in tone quality be observed. The monks' note are broadened for emphasis in Example 69; the Abbot is urged Example 6H, page 1, no. 1 cresc. < : : SE...“ r -" ‘- T; ' j" H ‘Ffifi L3:3 1. Te ld- cis- an - te tér-mi- num, Ré- rum Cre-é- tor, pé-scn-mus, 2.Procul re - ce-dant sémni-a, Et né—cti-um, man-tés-m-ta: I I . I . ' ’ 3.Praesta,Pa - ter p: — ns-sa- me, Pa-tn- que compar U- ni -ce, -...7_ “x —_.’._3— "q M“) . y- - .._...-.,_- 4’1"}? .13 815 Ut pro tG-a cle - mén-tu- a, Ho—sternoue nostrum_ comm-me, CumSpl-ri -tu Pa - - ra—clu- to, dimand rail. :- n A“ r—SL— A- ‘ i ._.- m... Mme-52m O l. Sis pra’e- sul___.. et cu — sré-di- a. 2.Ne pol-lu - - an-tur co'r-po-ra. 3. Re-gnans per____ 6- mne sa’e- cu - lum. Instr. Instr. Drums 221 fixumplo 65, page 8, line i fir I'D/heavily 2:":— Example 66, page 86, lines 2 and 3 Mammwmn Flute 222 223 Example 67, pages 9“ and 95 P— Abbot ri — ver breeze is__ blow-ing, Was — Ser- wind er - hob sich, 1- ri - verbnaeze és_ blow-ing, m ‘ Was - ser-wind er - hob sich, m 3 ri - ver breeze ns___ mow-ing, (z Der Was - ser-wmd er- - hob szch, mp ‘ . . m 0 The breeze,.__ : blow-ing, 3'- Der Wind hob sich, I The breeze...— blow- ing, U mm 5mm Bl , blow-ing, er r hob sich, IV m 7 Organ Snail 2224 Example 67, Continued P mf ¢ ..... b .. m _. » —_-_ ..-—.-_.----—._——._.. -.———u-r iiuiE If r Lrl I _J ' - L The Cur - - lew__.. Ri -ver Is floyv - ing- to the sea. Der M6 - - wen - - flu!) __ Zieh glel : Abbot ———_=h.tpm m] #‘J I I J A l 1 __--___”.m... __-__ __ T ___.. -fl-- - _l _ . ‘ he Cur - - lew... Ri-ver Is flow- ing__ bthésea. Der M6 - - wen - - Ilun._ Zieh gle/ - tend..nach den See. O I The Cur lew,-___ flow - ing 0 '0" M6 - - wen - - - - -flu/3 ziem. r r T T a, I I The Cur — - lew,_._....__.__. flow - "19- “1’ MO ' ° w ' ‘ ‘ " ’I’M z'm’. .......-.. “M...“ . -.._ __. __.-_._-....v. _.--._.-._ 7 \ 1 ___..—___.. .. .. .. .- _. -.._... r’. —_ .__.. .._ l__._ ___..__. -__..--_--_____._- H 225 Example 67, Continued / ‘fi——— "—' gt; 11‘ II V V sfm i; ii v Now it 15 night And time to__. pra _— Mn is! es Nach! Und Zei! mGe- be...— 4 Sfm —— Wm? fig: H' . Now it is night And . time to__ pray. Mn is! es Nach! Und Zei! zum 69- Del.— I <; $51 -___-4 L 1‘1 II 31 1LT K 1L 1’ _l’ _H _L L? £4}: 5 .s A g" 1' "\_ w' ' r " . Now it is night And 0 time to pray. Nun is! es Nach!.___ Ge - bet. ' Sfm 1 'fit 5” 9t 9‘ *—- «tr—<4 I t 111-K ff 1 II J L— r I Now it is night And I time to_ oral.— Mn is! es Ahab! Und IZei! zum Ge- be.— I Now it is night. Pray. . Nun is! es Nacht— Ge - be! I l k- _ emfwln ___ f kS/m Bt- 2:" “Li'— : 2 TH- ‘- — - i92- '«fl—Ir 4! ar % ”r i . 'r i l Now night, ' Pray Nun Abchl. Ge - be! i“:i‘—_.__:_ ‘Zrifii “‘“”““1ir—‘ *“ l 1 h I I _1. ._ --___T-._ .. 1&7.._._d__— Organ f ; > Bells 226 Example 68, page 116, line l 6%: .-'-—------—--------—-—--------"——--- --‘---‘ C O '61 Piccok: 227 to sing "more expressively" in Example 70 and "markedly" in Example 71 to help convey the meaning of the words "Beloved, attend to our mystery" [Example 69, page 2, line 3; Example 70, page 3, line 1; Example 71, page 6, line 1]. The Ferryman's melody (Example 72) begins in a declamatory fashion, but changes on "In every weather" (Example 48) to emphasize the words [Example 72, page 8, line 2]. Another contrast of tone quality demonstrates within a single song the difference between the "weak," or mellow, singing of 295 evident in Example 73, the dramatic singing manifest in Example 57, and the broad, enunciative style of Example 74 [Example 73, page 12, line 2; Example 74, page in, line 1]. The Traveller's "laughing notes" deride the Madwoman in Example 3M and contrast charply with the "passionate" legato of the Madwoman's melody. Further contrast appears between the Ferryman's emphatic "I will delay the ferryboat" and the laughing and suspenseful "I will wait." The Madwoman's glissando motive intrudes with still another tone color; the flute flutter—tongues both the Madwoman motive E-2 (a distortion of Te lucis) and its inversion, and is echoed canonically by the Madwoman, singing in a free and some— what hysterical manner [Example 75, page 23]. The Mad— woman's bizarre detached tones, sung in a prescribed "fantastic" manner, depict the raving madness previously described by the chorus (Example 23). 228 Example 69, page 2, line 3 Abbot A sign was gi-ven of God's grace. . Ein Zei- chen kam von Go!- tes Gna-de._.__ (5)2 MQNKS(in unison) pp MONCHE A sign of God's grace Ein lei-chm der Gila-d9. Organ Dru ms 229 Example 70, page 3, line 1 @ more 9 WSSiVO , P Not far a -way Nich! wei! mn bier. i u VA) C) Example 71, page 6, line 1 Slow (Lento) p marked Abbot Be-lov-éd. at tend To our mys—teJ-l'y. Ihrfimndefinsdwe! Des My-ste- r! - an. a Organ instruments Drums Egg: Hip 231 ’3 Example 72, page 8, line a ./ FeRRvMAN [___.. am the ter-ry-man. kh___£MndrF§hr4nnn Instr. Bums Example 73, page 12, line 2 fiflnumm Instr 232 Example 7“, page 1“, line 1 I¥nmmm Mark this “9“! !Se«m a”! Instr Gums \J to [Al .‘\ ‘ Example 75, page Ferryman I_.__will de - lay PO \ the fer—ry boat. Ich... ha! - !e jetz! das Fahr-bootaur. Traveller lnstn MADWOMAN f T/ :- —4§ - A . (a _ "r 7‘ ‘ A ‘ ' .r g m { Let me in! Letmeout!__ lamwmtheWfl Launimaufl____ .. m 9 __'...V L 1--_L._-1,__12_Q_ - ___'_ .H' J 1 j 1 m Ferryman . . ' “ :1.$§?%:§: " “1’:::§““ I will wait tar—dwemadmman. I should like to see her. Ich mfl'nachau! die Ir - re, -7 Ich sfih‘ Ste 50 gr-ne. :5 0' - ”T" m $3 5 5 .- i m — . I i m >- fit Dnunsfififi: ”i3? Flute 23M Example 75, Continued L 7 ___I .-- (L «D ( lively) g__§ l Tell me the, tell me the way! ICh nich! ver- stehjnich! ver- steh'! Tell me the, tell me the way! Ich nich! vesseh'n'm! tier-stem 3 W at» 9 3 mf< >— 235 A variety of changes in tone quality occurs with considerable rapidity. The Madwoman's song moves from an accented broad style to a detached, then legato, then staccato one [Example 76, page 26]. The crescendo of the Madwoman's glissando in Example 77 renders the following decrescendo even more poignant [Example 77, page 31, line 1]. Dramatic impact is provided by the changes of tone quality in Example #1 as the Madwoman's irrationality is pathetically revealed. The total vertical range of each of the four solo voices appears to be quite extensive: v”) i," g L70 '5:- J T A. f / f 17 J I’ / if / 5%— f . .. ,:-..._-. Q“--- .............. -W #‘O I ‘8" fi‘é’ Abbot Ferryman Traveller Madwoman However the ambitus is often narrow in whole sections at a time, especially in the recitatives (see Examples 56 and U7). Te lucis itself contains only five notes, and the chorus is confined to the basic interval of a fifth. John Warrack competently describes the intervallic pattern in his review of Curlew River for Tempo Magazine. The Abbot's melodies are restricted primarily to half and whole steps, some major thirds and even a few sixths. The Traveller's lnstn But dark - er .mxw wtm-kr 236 Example 76, page 26 than a star-less night With not one... gleam. not as die schuar-ze Nach! Gan: stem - Ios, _ oh - no .--r* ‘41. - nstr. one, No gleam to... show the way- Lich!, Kein Lich! zeig! ihr an Mg... “a-- - -——— - .—.—.——-—————- w-‘l ”_— —. _“mo—u— —-—-. ~......... _— -—.—- __- ~.—-——.—_— -.—_‘i Instr acne/J freely) "I7'009" 7.". accel. (freely) 237 Example 76, Continued All is... clear but Lin-clear too. 41- (es... klarobch un-klar auch nstr. Low bray/child con—fuses me: Lie - a» zumKlnd, demadiinflim'rr: agitated raguana) nae a. -I_="’_ “4 a __ut- Where is my dar - ling now? ® _ug is! main Heb - ling je!z!? Viola is” 238 Example 76, Continued 1* \gfi. P—‘3—‘1 3 Where is my dar - - ling now? ___.. Where? W0 istmein Lieb - ling je!z!? Wo?______ W0?— Viola Suu I a9 b ‘ _. - - __.-_ ' . "I \__--_._ Traveller ' a __ - . L ___..—2'" \ H—I—d h.— —J __ La-dy, remember, All of us here Mayprqloryour child: __ Her-fin, er-in-nerl, Al- Ie wirkon - nen m- !en Iiir Ihn, P Traveller $31: r R.‘ ___, 1.___5__—_,— Mmrprayer is best To re-joioe his- young soul. Domain Ge- be! hi!!! AI-ler-meis! sei- ner See-19. % dim. i. .“ I P "___m“,-,,_“___ . , WWW" r.:s-=.._.,'._s.'.'.:..:.===_---- ---_.._....i_, suv——e-I-r— '— r-F-v-r-t—v‘ v . I I I I I L—3—l I I / I / Whatyousay is true: I'll say a prayer For theswldmylost lostchlld... was du saw/Silva”. Ich memoir-be! Flirdie See-1e memes Angeli. Madwoman = goeaten'd by his si- lence. mar-ing like the sea... Ertaub! lonseinem Sdiweigenfln‘illmd lM'edJPSee. .. Example 87, page 22 i '7- '. in.-. t-..“ 1:33;. _. 1:- 1‘; . Thepeoplevereamused When theyhoardher sing- ing; DieLeLHe un- IH-WdasmseflSm-gn W- ten; Traveller ' Traveller Theyall began laugh - - - - - ing. amnmnhnsiela - ~ - - Chen. 251 Example 88, page 52]. The Traveller's music of Example 33 slowly trudges right along with him; in Example 89 the divided heterophonic singing of wide intervals emphasizes the distance encompassed in travel and actually creates a visual impression of travel as the notes accompanying the words "far, far" drOp in fifths [Example 89, page 15, line 3]. The words "carry away all who are in her" are enhanced by the stealthy tiptoeing effect of the music [Example 90, page 50, line 1]. The soaring line of the curlew motive suggests a bird in flight (Example 34); the flute in Example 91 represents both the curlew birds and the Madwoman's grief-torn frenzied state, symbolizing the relationship between the two [Example 91, page 104]. The tone quality of the Madwoman's song changes to match the luster of the words "sparkles like hope" in Example 92 [Example 92, page 28, line 1]. The Madwoman's grief is depicted in numerous examples of tone painting throughout the score. The musical "tears" of Example 93 appropriately accompany the words "to weep so bitterly," as the Ferryman describes the Madwoman's weeping; similar instances of "musical grief" may be seen in Example 56 with the words "tears" and "weeping," and in the harp pizzicato imitating the weeping motive of the Madwoman as she breaks down in sorrow (Example 94) [Example 93, page 68; Example 94, page 32]. 252 Example 88, page 52 Tram ,' ‘Lassiefifiiigflfigéfii- 6 Chons per— son! Ah,______._ Fer ry-man, row your fer- ry boat! Men- schen/ Ach, ___..—__— Fahr- mannJIeib'dein Fahr - - 1200!! x 6 A N ; . (‘2) 3'9“"- 'L::“ N — 9 : : C a... i ~ - — Oman f ::::::::===—- A an _-.._._. “m. ’&J_ ¥Mfi_ _ Y I. Ry¥ v A?) g _ . Instr 253 Example 89, page 15, line 3 (Traveller's tempo) asst! it"s - -£L———F————t;d f I; I; ..... w m7 i a as?” “is: - Tl x... .71.. aw mlE arm. m e [T r I I Ti. (3 3' >| J mmfiamw CI'OSC. dim. ”V Example 90, page 50, Ferryman au-r al-Ig ~.— w.“ n.-- ajwa vermch en, 5 line 1 Au “Mo AI - M Woman 104 Example 91, page M *o-. .‘OLA *-- s3: r3 fianflwrhwm; ' lflnrwfiwrs Vbnlxwfimnée.s__.HwNUiSManm Flute Mahnwan F‘U'? tk'rfl [_r”_j__.______ ._ --- -_ _ .........---- ---._.+ T Laeamb : Wrdmsf- f- - ne >< I Harp 255 Example 92, page 28, line 1 MADWMAN I RRE f Dew... on_ the Tau... auf... dem Spark-les like Hoff - nungs-loll grass Gras 5 I 5 !rem . ’ "'f Ferrymn Instr. Ferryman Instr. Example 93, page 68 p ___..—I Youmustbo soft-heart- - ed minimum-"9' ' 1’9 E? 1* f’ ‘ ' .5 To weep 50 b" ‘ Bit-ter zu wei 257 Example 94, page 32 "—‘—5 Clear md un-clear in mind... Klar and un-klar im Geis!_ East-ward l wan—der on, on, Cs!-uér!s zieh‘ich da - m]. 5mm,— ,, m- .___5- ..-__._ .- sing—3:— g._- 1511*:1. T—F‘ : 33.‘ a :3 a {gr—iii) c (Harp)/\ v 5__, a: : 182-tit?“ rj-_t..:_ l I I — ‘8: I I 1 T I mtg) 10‘“ (on) Mamwnan Shevwmps Sie wein!. . _:.-_5:77 \ - _ i—En—Fi f 3M1? fits aj_\ fa ‘1‘ V In longing for my son, In long-ing for my son. Sehn'mich nth nei~nem Sahn,._ Sehn‘nwthnadimei-mn Sohn. ~ W‘TTI’I’rF—wvi rnrrrr 5—-——-";_. ~———-'s__'_‘i dun. [pnnl*0d 258 Examples 95 and 96 show parts of entire songs based on a weeping motive; the sobbing is implicit in all of the musical lines [Example 95, page 85; Example 96, page 30]. In Example 97 the Madwoman's motive E-l is mockingly imitated by the Ferryman and his passengers as they taunt her with "we want to hear you singing" [Example 97, page 37]. The Ferryman's melody protrays the "wandering" of which he speaks [Example 98, page 35, line 3; page 36, line 1]. Linear Characteristics Like hogaku, Curlew River is predominantly linear and, as may be expected therefore, contains a prodigious amount of melodic counterpoint. Imitation, especially canonic imitation, abounds. In Example 99 the Ferryman imitates the horn; in the last measure the imitation appears in stretto, resulting in the illusion of micro- tones [Example 99, page ll, lines 2 and 3]. In Example 100 the Madwoman's motive E-l and the Ferryman's mocking reiteration are interpolated amidst a canonic imitation of the flute passage containing the motive E-2 and its inversion [Example 100, page 21]. The choral derisive imitation of the Madwoman's motive (Example 99) is also canonic, and the vocal imitation of the horn in Example 81 quasi-canonic, with the imitation intervallic but not rhythmic. In Example 95 the flute imitates the voice; at first the imitation is exact, at the tenth and after 259 Example 95, page 85 She turns away from tho lamb. [8‘] 5!? new! son. 1m v.1) ”Grab mowogm . IRRE 9‘ ” pp ru to . l wan-der'd on, sown-dew ich, lip—mg,— HOI-fenq— hot-ll Flute Hm Mandamus-lone fathom - - y lard Gan: al-Iein ich lam In dies scNII' - - m (and Flute adwornan V all is strange ___... “b d- Io: fraud _— Flute m 0.1- ly to learn an Ich or- II”. Flu" In“! m In all "“6 earth... Donal def W9"— Flute PP ‘ p M"; 260 Example 98, page 30 Instr. “were Iwas liv—ing Withmy child,_ 7 Don 190- '9 ich ml ma-nem Km- _ n H7 ....... En“ C- -- fl- . - ._----_C-J_--._,- W aifllfiig 344:9?“ There with my on-ly child..._ MI! memem einzlgm Kind. _ (at: >-') (3 VI C . . 0b. - ammatmg m 7 (<>) (animando) cm“, AL, _. Wm -- 4%.. if- r Oneday a-las he vanish'd, @ Doch el- ms Tags var-50mm er, “. ,...:I'—':—’;§'—E-";—:'f€:'_i'_:§'-—‘3j 3 4. 7 A ”FEE???“— ““— .. mmr g I -- ..... C ”W! -== mm _ peresc. ___Y“ h___ -__ “U”, L—4—J One day he vanish'd: Ach, da ver—schwand er: mp cresc. 7 'nstr. —_-——-_ - 1:?N If mp cresc -= m 261 Example 97, page 37 q. Ferrymn" - {yesyT 'ir % fine 7 V :5 v f v v r fi Uri-less you enter-tain us with your Wenn du unsrr‘mtnodv Scarlrnachs! durcncbin / s— ' T ‘5 19 ‘ l‘ ‘ ‘I '3) Un-less you en-ter— tain us with your Wenn au U‘lSfliC/lll'Ddl Spar} machs! durdv oein /:g,;' T wv‘:j-----I; rfi‘r i I--T;\;I g, in’iJl.‘ " sepia—“7 Wewant to hear you sing - ing, cra-zl-ly sing -ing .' 'V/rwoll'ndidi sin-gen ho - ren, irr- sln-nig Sin - gm! L . .5) sing — ing! Un—lessyou en-ler—tain us with Sin - am! wwuns mm nodsp'a” ”Hm“ dun-Z” l A/fl‘ A ' I Tr - _. “I. . l l I. l V J %' n n n n h I 4 V “7’ i’ I! 1’ ll .._' 3 ', waan tsohea earyw sung ing cra-zi ly Sing ' ing . ’_______‘5 L .' irr- sin-nia Sin - aen. fir] I“ ix A ix ix [1' i L— - A1 .- fim 1' 1r I! lit] 1) 7 L——— 1 \ rr 1 I. 11 N L' r 2*- I V V ‘f Make us laugh withyour sing— ing Mad - W0 - man! Madi'uns la- crmdum urchSin -9en, ""9 Frau du.’ i } L i‘vlrlr u at "yd—g _ a v \ 1* J \t I A \_ r __K 4" x v- w ‘- fl: Instr. 262 Example 98, page 35, line 3; page 3b, line 1 rail... _. . - , .__.. 7 A-ny fool cansee Vwrteetaewardfi'gburltngisare Je-der Narr «kmw-nefi'B-se ir - ran win 665! gen! O '4 1 o y, I f.‘.—.—-~_ “’“ 1L 3? -- owl-g, I I r h“. ‘ ‘j,¥ __. > p 5, f" f. ~ ‘*—'%: g _ “ ”:'_' I .7 a 3 3‘ - “m“— P Ferryman ln str. Drums 263 Example 98, Continued MADWOMANn' IRRE ! fiwwman In stn f .3614 Example 99, page 11, lines 2 and 3 E‘ betore ) f To-day is an im-por - tant day. ‘l Heat' is! ein be- son - d‘rer by. lnstr. Organ Drums ‘ Whoa» Ferryman Ma - ny peopleneed the ter-ry Vie - Ie wol—len auf die Fih- re, Oman Drums 265 Example 99, Continued Ferryman To reach the o-ther bank. DerFlun zu U-ter-W'n. Instr. Drums "If /—'\ Ferryman There... the folk are ga-ther-i Dn'j - hen sam - melt sich das ..._..-.3..- '"l Drums 266 Example 100, page 21 MADWWAN off (distant) WEE! hint-r Sahel (freely) <3- 0 b. 9‘6 m I...— -—‘ a —~ You mock me! You ask me! Whither! whither! 90. [hr hohn! mien! Ihr frag! mien! Wa-hin icii, uo-h’n ich gm: (lively) ' fit Flute Ferryman Db \ f-——.._3--—q I Whi-ther l, whither! go. : W0 - bin ich, mhin ich geh'. . m ! Flute Ferryman s H... I Maylask. didyouseeWhoit I n E-mnag: sahlihrawh was . 0 0h :8 267 Example 100, Continued " L‘: me! You ask me! MICh.’ Ihr fi’agt mich! —------1 . fit flute : ' MLL ist, der dart singl? ; m ' 4:3 : - I n is that is singing? : I (0") r——3 a Flute Howstould l, howshould l, howshmld I know? We WUSSf'ich'S, WP wast' id‘i’s, wie wassf' I'Ch's je’ m TRAVELLER m REISENDER PP 268 three beats; in the second measure the vocal line is inverted but the flute retains the original melodic contour; the two lines are exchanged in the third measure, with the voice singing the original form and the flute playing the inversion; in the next measure voice and flute appear in mirror in stretto. Te lucis is imitated canonically in a bitonal passage in Example 63; the Ferryman sings the first phrase of the chant in Bb minor, imitated at a time lag of approximately eight beats in E Phrygian. The Mad- woman's first song (issei) is comprised wholly of canonic imitation; the principal contrast provided by inversion may be seen in the third measure of Example 96 in which part of the song is shown. Another bitonal canon appears in Example lOl. The voice sings the melodic palindrome in Ab imitated by the flute in C. Here the strict canon ends; the flute then becomes the leader and repeats a portion of the melody sequentially in Eb, Gb and A, imitated in stretto in the key of Bb by the voice. Not only is the passage bitonal but bimodal as well, with the third scale degree implying the major scale and the flatted sixth scale degree sug- gesting the minor [Example 101, page U0]. The canon in Example 102 is begun by the Traveller and imitated at the unison by the Abbot after approxi- mately eleven eighth-notes; the tenors enter at the 269 Example 101, page “0 W m Wild birds, I can-not un-der-standyoucry, Tell me,— Wild- in - gel, I'ch ver sleh nichleuren Schrei, Sag! mir— (like the voice} Flute does the one I love ln_ lhisworldstill live?" Iebl die L/e- be noch Hier._ in die - ser Well?" m mg221/lt/9Lyl‘w+_.b';'bé‘ga FlUte :gFT—Tr+rrfi+fiJF—H w b PP Harp WW ‘7[’_ [Wi’j more I/vel m 4 _ C y k h L - - b. A j - 'n I Madwoman ' ‘ ."E: "i- I {'1 {i i) F \ i ‘ r I} 1') I I! ll 1 1 I; I Ir) {L111 g 5' :T I . ' ' r r v W l =3; 1 he I ' Fer- ry-man, there the wild birds float! Image-3,3,, woldgtgrdssglyé“ Fahr- mann, seh' ich der V6- gel Flug.’ poco accel )sbi- will: Mt? We bear hem Flute . I — v poco CIPSC. C‘I'PSC. 1 A DOCO accel . $2 1 _. :7 11 “J . I] Harp NCO re C. E Mwm' F; i 270 unison after the same time lag, and the basses Join the tenors in unison after approximately thirteen eighth- notes [Example 102, page “8, lines 1 and 2]. Example 103 shows the beginning of a bitonal canon in which all but the Madwoman participate: the Ferryman in D, tenors in G, the Traveller and baritones in D, the Abbot and basses in A. Each of the vocal lines is doubled by an instrument: the Ferryman by the harp and horn, the Abbot and basses by the double bass, and the tenors by the viola. Only the Ferryman's melodic line digresses from the canon; all of the other parts remain in strict canon throughout the entire song [Example 103, page 82]. A polytonal canon consisting primarily of a melodic palindrome (similar to the one that appears in Peter Mennin's In the Quiet Night) may be seen in Example 10“. The melody is sung by the Madwoman in Ab, imitated in stretto in C by the Traveller, and in E by the Ferryman. The Traveller interrupts the palindrome to wait until the Ferryman sing A , then proceeds to Ab; the flute enters in Ab, followed by the tenors approximately eight beats later, also in Ab. Baritones enter in Eb after the Eb has been sung by the Traveller and Ferryman; the flute joins in approximately five beats later in Bb, and the Abbot and basses enter in Bb after the Ferryman and b Traveller have sung their B on the word "love." The 271 Example 102, page 48, lines 2 and 3 REISELl 2% ’05) m ’ mjcresc H l' Ix II R 1' 1' K J1 K I; F ' Ill—I] A [I I 11 PI 11 X [I ll "TI H V 1 H n H y l I V y l I II 7 rU V i ‘r I I r Fer-ryman, Qiebegof you To let heroomea— board Shesees Fahr- mann, sie bIl- let di ch, Ach, [ails/e dath an Bord Sie siehl ABBOT cresc. (.1 A87 P x H ' :H .L 1.1 a e P Fer-ryman, shebegsof Fa’hr- mann,sie bit-tel dich, . m m ‘“‘l-'—’ "“ _-_ . - _ T :T:‘ at} ‘t .3 i . 7 7 l V l V SOUL. l Wer'b. ; n m I ‘ 8t, ‘ , """—__:_‘,}T.;r__.'_._;____._ - _ B. '— ‘7-“ 1’) r C I __._ :‘ ”He—4’36?— . " eib. : F. . um.»— “ U 9. __K ._1'_---_:_...e—: >W ”Ft “7‘ “in $1 I? #1- 1““ rich tit) l- .. it: \ N , 131'. “If, “‘it D gs Ste doch an ’fi-tfi-fi'fl' r ted-r the boat is crowded ,But let heromie. board, dasaaolvollleu-le,0ochla/15iedrha A . ' A Q r ' ' *7 Sheserzsthe boat is crowd- ed, But let heroome 3- TO ‘9‘ her come a- board. SiesiehldasBool voIILeu - le, Doch l_a/l Re dam an. Ach, la/i Sie m an Bord —' ' ) __-.._____,r__'fl_"‘- 1r ~§—3§—:—~_r-———_ h-Lm f1---“— - 'F°"'V’ma"She be??? l3, i331: Acn, 13 sh: $713.» 335d :l-Ta'hr- manrs’e 272 lfixample 102 , Continued - '- — - m >- - 1 is f it if r ’ P ° Traveller ‘ -___. "Ly—i } y I _ Aeun m T- i 3 ._._- ___...__.- ._.___.. __-. ._. ---_.._._- ___--,.-_._. a ' rum flvbafliscnxfl4n EMthlercanea- lxamt__ o : ie siehrdas Baal voll Leu- le. [loch lat} SIP dach an rd...- I O u Bt. 3 ' 8.1 i._ Shesmsltwboat is crowded, But let heroomea- board,— SiesiehlohsBool vdl Leu-r‘e, web Ian sie abch‘ an Bord.— Traveller 3 _ -_--___. -- -. - _g - , , , . -nan she ofyxi t) bilercnnwea-tnaml. - mann Ste bi -lel dich, Ach, H3 559 can an Bord. " re - P- Auxt‘ .jflgfir-if'"bfi::‘ ‘- L—q‘ ’{nzf a» t h EL ’3 , m T- ‘" ' L M 3:" D l ___ ' ua ti ! g —- : L20 si$'% h an 33%”, I 'ln\ - (JBL ' ' } '"‘ ‘1=r— B . i f 273 Example 103, page 82 Now let me stmyoumrelheboyis buried. Nun lan' mich zeigm, W0 des Bu-ben Grab isl. _Her - rm, er Bi- "* 1: :La - dy. let him Am 8- B La. .dy, let him guideym to the tomb, ... Her- rin, erluhrl did) nun an das Grab, Instr. Drums fie; _ W {is ere; L _J "‘ " ‘ P- beg you Please step this way. Ich- bill' dim Hier is! der- Meg. . r? we —~— the tomb, ._..__ das Grab—__— igffrriifiéié La- dy let him guide you to Her rm er fuhrf dloh nun an Afloat I;.--_....__::’ 8, er. --—- _-~.--—: 271; Example 103, Continued m a. n.-.- _...---.-. ..-»_.-...-— .oo Ferryman P—o-——-9_——a— ——o—-—c- ”'0 La - dyqane withme. :The place where your m’fiqstepshave the tomb . The plan Minnow vad'ring ”McNaughtvm ,-_- ”___.. ..--.-. -—-.-——- -—.—-.~ --.-.—~ w- o... - ~ _‘. -— .. ~. Loco-cu- .-.i’ c..._ .-_. - ----—‘—b “u. r. Instr. Drums roman E3 3%? limit. ‘5 [€55 ffgg l’his is the grave of your- young Child mg“ £~E§E§$iififi if "74: a... TheolaoeMyourward ring steps have brought yai. ___.— A -- ._-_. .;_._:.;:::.::::::::7.- - ”2“ $£T$3 - --—~ ._ ..-----.....--... Jill—r— B. r' is the Instr. Drums 275 tenors also enter in Bb after the Ferryman and Traveller have sung the Bb on the word "land." This procedure continues sequentially. Thus the tenors have been sing- ing the palindrome pattern in Ab, Eb, and C; the baritones in Eb, F, then G; the Abbot and basses in Bb, C, then D, and the flute in Ab, Eb, C, then D. Meanwhile the organ provides a heterophonic accompaniment to the unison sing- ing of the Ferryman and Abbot. The harp reiterates an arpeggiated ostinato, tenaciously retaining an F tonality; the viola joins in with an arpeggiated pattern in F (page A3) and the bass adds an F—Bb figure (page MA). Then, as if to emphasize the bitonal nature of the work, the horn intones a Bb trill (page US) [Example 104, pages “2 to US]. As the Abbot and chorus sing the hymn Custodes hominum to a heterOphonic orchestral accompaniment, Te lucis is sung as counterpoint, divided between the Ferry- man and the Traveller (Example 21). The Madwoman and flute enter with their counterpoint (Example 91), and the heterophony becomes increasingly brilliant and complex, reaching its climax when the entire cast and orchestra participate in the heterophony. Over this exciting mass of sound the voice of the boy's spirit enters in canonic imitation of the chant at a time lag of four quarter- notes [Example 105, page 108]. 276 Example 10“, pages U2 to U Madwoman pp (own tempo) H555-“ 5 $33: 1’53? ”Tell me... does the one I love In... thiswodd still live?” Sag‘f'mir__ 190’ d") “9 be ”0m Hier___ In d/‘e-ser Welt?" Ferryman m, _ 1m ~—--—-———— ‘ I ——.—- -—.._-__ H-..— "—'——-——-.—- ___ " —-——. '_-——-————.——_.—H—— --_._ —. ‘- m“.—~--—.—.. _ .- Sie auch den 50 Ver- : She too is seek-ing 3m m .. -...._ Harp Th‘"k""9 C”his la- dy love— Der Ge'lm’er dacm er da -— W’WVV someone lost. Search--i for a son. min -!en suchi, Forscm nac zh- rem Sohn. . ' , - _. ,7, ;:-_,__.._.._.._ Traveller i 'j.fi:t;-; 53$ ' ‘9}:1f‘i': : _ ___.--l s . .. - V _-. . __.- __ _ Yearn " "‘9 for a wo man. —Seh - nendnachder Frau sich. _ CHORUS Tenors W (like/Madwoman) _ -_:;;_'.;1.::.;:::_:_:::Liz-41W _y 1’ _7 - ..-...-,_--_.--.._._ __ ___-- _Il . ._ .. . _ Birds of the Fen—land, she V6 - gel des Moor- lanes, sie Flute Harp I I id 3 l-.. _____- ___.-H __ j A __ -- _ . -__--- "__ ____- - .. -_i__ _ T l, Example Ferryman from long - ing. die Sehn - Suchl, Bolhde-rlve from long - ing, Rel-d9 triebf die Sehn-sqcht. W Organ will askyou too, "Is lhe Iragfeudmdilauch,"lst mein ”5r tones Birds of the Fen—land. V6 - oel a’e.c MoorLands. ,_ __, .A_,___._ID_,. 277 10“, w < I :Both from lav/e. .L/e<-:be ‘ WI . I 130th 'Lie - l from love. wall I love Still - bes Kind am -ing?" bm?" liv - Le - she will ask you 519 Iraq! euch ABBOT and Basses too, am Birds of the Fen V6 - gel des Moor- ') 1.. 78 Example 10“, Continued ._.__ - A . ___——J—fi—‘ l "2“.H'“ Ferryman l 5 1 1 I l i u ; r; if _‘_____3.—-—' I ' I I l i Birds of the Few-land." . ' She__ w'.“ 85‘" V0- gel des Moor-lands" . 'fragL. Sle dann _ . I | - _-_" Traveller ‘ l L z ‘ \ __ \———3 ‘—'-' A I . * “Birds of the Fen-land," : I She_._ WI“ ask, "Vb-gel des Moorlands," ’ j lragl- sie dann, l Organ Shewnll ask- and she will ask. But Ja so Iraq! $1.9 -nd 5!? lragl, Doch b A l m ‘6 “_r'4fi4’: A ‘ f 1 . 71f ' r v . I El___L + ‘ I v I r “Islhe child I love sml liv— -lng?" She "lslme/nlie - besK/nc’ am Le - bane" 50 land, she will ask y0u too, “Is the child I love Still lands $19 lrdgl eucn wohl auch '15! men he - bes Kind am A ~12 t 3’ ,, F F DC +_, i l I :_ 279 .- fl--— .She will ask, O '1. Exa mple 104, a- . - . c —_ A a -. . _. . .- . _--__‘—. ..—..a- u.— - Ow—WW - . _ ___..- --_._.__ “M*—‘ a. 'fragl sie dann, Continued -._.-. -1. -._..... W -3_~, - swer answer they wi W0”. Anlworl Inmmll ti: £1: But an - Doch Anl - _fm ' 'She will ask, i {fragl sie dann, Organ ' swer answer theywil - war? Anlworl warm”. 3' an - swer t Anl- war! will harm! ihr nichl not. $535551“ era and Will ask- fragl sie, sne Will fragl egg 50 SIP, -m -- —‘—-————...—...-_—- -. - ff“ 1‘! TWW-i if; —*- -; 1:7: ** g 4* ”me,doest the one l ”Saglmir, lebl die L.e - be . b - T --. __ -_-__ She wlll ask So liagl sle- Bul-._ an-swer they will not. Doch- Anl—worl komml ihr ni'chl. and she will ask. and so flag! sie, But answer Doch Anlworl A C b mf w—-.—-.-— no.— -—.- _- Ex xnmple 10“, D L 80 Continued i$> Ferryman -. _ fr. b. , at? 3' xi? 1' 2 :1 {)1 i;DT‘_i1——‘ m3: '1 ll— { 41"? I I I 'I I —' ll> not, :they will not. 1 "Birds-- of the Fen - land nichl lkomml ihr nichl. 2 "V6 gel des Moor Lands, Traveller Ate 2 they WI ll Ikomml I'hr -[_ __ r ' __~.- not. T : "Birds.- of the Fen — land, n/chl. I ”V6 - gel des Maw - lands, A T A i 4 A L 1 I I 7 I r F 1.1-0 ‘. r T 1 I _L ' l I I 'II F ' a : - ' , 1 I l ,I r 1 1 ._ J V 7 h} love In__ this world still live?- noch Hier. in die - ser Well? 5;“ 32:33—ij 4’ if? T!— l3?“ j Ll. {Rf-'1: -__-_:3_ til—1:443- _-- _ _- - i;.——;—4:"‘— . . “Tell me,does the one I love In_ thisworld still live? "Sag! mI'r, lebl die Lie -be noch Hier_ in die- ser Well? M r l i, , ’ r'z—"fi I - 1' .— -;—1;_FL i 1 T l 1' ' '7 . ' F l "I T ' I I l I I I) A . l l l l l ' ~ L— ' ___I they._ will not, “Tell me‘. does the one I love komml ."hr nI'chl. "Sagl' mlr, lebl die Lie- be noch 281 Example 105, page 108 SPlRIT(olf) , . r GEISTlvmlerne) San - clae Sit Tr|-_a-di____ Sén - ctae Sit Ferrg-nan Traveller ‘ Sén—ctae sit CHORUS Organ Bells .1 .l Hn > [IP CI’PSC . Harp (Vla.) 282 Example 105, Continued TraveHer ' 283 Sequence permeates Curlew River. The entire section depicted in Example 106 consists of sequence [Example 106, page 4]. Other examples of sequence may be noted in Example 31 and in Example 37. The inversion seen in Example 96 has been mentioned previously. Inversion is also important in the Madwoman's motives E-l and E—2 (Example 35). E-l consists of an augmented fourth, first followed by a perfect fourth above the second note of the interval, then by a perfect fourth below the first note; E—2 follows a stricter and more obvious pattern of inversion. The drum pattern of Example 8M imitates motive E-l, with the second drum figure an inversion of the first. In Example 62, flute, horn and drums play arpeg— giated figures in A; as the tonal center moves sequen— tially to G (Example 107), they repeat their figures in inversion, this time in G. Then the curlew motive E—S is played, followed by its inversion sung by the Madwoman in stretto at a time lag of seven quarter—notes [Example 107, page 76]. The final chorus (Example 108), appropriately enough, is an inversion of the Opening chorus (Example 2“), in which the scene was set for the parable. This time the chorus offers a closing comment as the story ends [Example 108, page 122]. 2814 Example 106, page L P CFQSC. -_-. _..._-o- .H— - “ _..' .IT’LTZ'” .;.- j ""2 "“‘l .b... if... Eff- . --. ----—.—4p————— -~.—-- ”a... a—«— ——- a—o-n—vcl As candle-shine Wie Ker- zen-Salem In a dismal place, In derdmklen Ahchl, Abbot — i..._ .— A freshet spilt EinQJell enl - spring! Organ ——_— __— As in - no- cence Wl'e Un - schuld gar Organ In a desert waste, Un-tar‘m “(Bin-sand, Out - shin - eth guilt. Mehr sd'lel'nl als Schuld, 285 Example 107, case 76 >P 3-—‘1 m m .«~3——. Madwoman _ .ngin empw-— 8“ 9rd dUrCh [99— re... LUf’. nstr. Organ Drums Maduomm nstr. Organ Drums 286 Example 107, Continued >p flively -—I=:—_ 1 F—3'—"'1 r—3——" Now the nest of the cur-lew is si ~lent with: Nundaslwsl un-srer Mammal” un-Erm I rall. - - pp- 0- u- - . f 3 fl I" 3 . I I 1 — - - m A - - _..- ~—.-- —— ..-— 287 Example 108, page 122 4% V \ m u, l - l - T {I ’ llll _n h . llllnmu w a i l I u .. \ H n N ~ 8 N I I I d. — N [.63 as i 52 L2 5 .3 «.6 33% §§et£$b 33 I ammo. of l “mo. of do. in. me..— a: 50.5: it .80 .50 $2.2m t F P L L L L L L L . L. 7 WT _ 11%» w: mflmmmflx ”wit... F H J] n r ~ _ L W In I . .l H l"- l H .I I a — u H l1 m} ‘H I W .‘ L if.“ IAANIQ ES \mwmmmm W l.l..c5 - . is .81 . .3 mi can 33 . E .21ch cob 33 .38. 9: lgmo. 9: 5w - .5 s2. poo So 37cm 0 l . -zlll‘MW,i.l.4ilS,i|ilil A. W NA 1 n w w! w ll mm. W trill .m us i h It 1w - . i N um.\ i It ES $082.3 11.63 Lo; .c& . m: 9.0 cam. Etc . . em 33 M 13.8. 9: .92 - .2 9: 5m - z: «2. $5: m. 5 ll- - ”Mulliinwunw,i»~LMw,Anw11 iii .IIll Thawll:i Hui mu . .IJHWmWWMHMH lbtlngwmhfl,mWhml-.nHHWMHHI i-whh =w lw « I Wm; I. Ill: . , Ill ll l llll. Ill 1 L. . B: a .lnnnilillll set \ meocmh ides a: £5 L2 as d: to 33% «Stuff :8 Be o :33. 9: 159 m5 .832 9: a: cat: «as Bo So 855 o llyll, Ill lll l V» m— m m m AN» N» «>— mlm m NL— “— illimn lHi zuwnumwuwlliln. - « uh u -_ m N hr. rilmm .33 i ll in , il,lilii l: til? , l i - l ill \.. we 1 Es \ 288 During the introductory music, as the Ferryman and Traveller are being dressed for their roles, the drum ostinato in Example 109 appears in diminution on line 2 (no. 12) and in retrograde diminution in the last measure of the example [Example 109, page 7]. The drum ostinato is repeated at the end of the drama, as the Ferryman and Traveller resume their monk's garb. This time, however, the ostinato is an inversion of the earlier one. When it appears in diminution (line 2 of Example 110) it is therefore already inverted, and when it is inverted retrograde (line 3) it imitates the previous original diminution. Thus the last two examples illustrate not only the cyclical nature of the drama which ends as it begins, but the quasi-arch form implicit in the inverted form of most of the closing section [Example 110, page 119]. Heterophony provides the most consistent texture in the work. Nearly the entire composition consists of either imitation or heterophony. In Example 2“ the progression from C-B-A—F#-G# occurs at different times in separate voices, piling up dissonance. The consonant unison on the word "side" clarifies the section. "In a passage of solely instrumental heterophony (Example 78) the flute and harp grace notes, viola trills and horn anticipation result in dissonant microtones, while the bass line remains simple and straightforward. 289 Example 109, page 7 1 Q I ,F I; 1' ® 4....” 7 V lfi lfr ”l h 1 a g. H i TV - H 'I F r H. E 8 Gum 290 Example 110, page 119 1L fkim 5.3....) > pp Drums 291 In Example 30 the Abbot and basses retain the original melody and the tenors sing an ornamented line. The organ, in 3 against the g of the chorus, anticipates the melody and provides hemiola. The organ offers a heterophonic accompaniment to the unison voices in Example 111 [Example 111, page 47, line 1]. The viola plays the melody in Example 112; the ornamented voice and horn contain notes a half step apart #‘of in close proximity, resulting in microtones (the C the horn on the heels of the D in the voice on the heels of the Db in the horn) [Example 112, page 49, lines 1 and 2]. While the horn plays the melody in Example 113, the other instruments are ornamented, with glissandos in the flute and bass, harp tremolandos, and viola and harp grace notes and trills [Example 113, page 50, line 3, page 51, line 1]. The unison tones of the horn and voice in the heterophony of Example 114 do not coincide, resulting in the ubiquitous microtones [Example 11“, page 6U, line 3]. Frequent mention has been made of the bitonality that appears so consistently throughout the score. A rather subtle example of bitonality may be noted in Example 115. The horn plays a C dominant minor ninth which implies an F tonality; the flute arpeggio outlines # the F ritsu scale, while the Madwoman sings a melody in Db [Example 115, page 87, line 2]. Above the heterophonic 292 Example 111, page H7, line 1 A D Ferryman [L r ‘r f L 1 8. Traveller 7,} J F 1 T. m l V 3 ' 7 m Birds of the Fen- land 1 she has mmlm ing 0 V6- gel des Moor- lands ' sie hO’r- le rdeuch man I : l vobot, m R [E E Hf : Eta-Bf 11 11 ii I r . T Y r A Birds of the Fen- land, V6~ gel des Moor- lands, she has heard you cry- ing sie hOr- le euch schrei-en, f) I I I I ‘ A T ’— 1 VT ' 1 Y 1 f f L r} .1 1.? ‘r "d Organ A l ’E%- ’3 ,ffif: £8 Flute '1} j g z r r" a . 1 r e) PP P >— 0 m A .IL. 1 l 293 Example 112, page U9, lines 1 and 2 . f A /‘ Runnan b..— L—_3—J To know what she seeks. La - dy,be quick Ihr Z/‘el doch zu seh'n. @ Her - n'nmachsmell Hn. nslr Drums an b—J—l And you thora-vel—ler. _ l :3 :0"? ambgg’rgl- Und flu amhflelsen-der. nstr Gone aboard ! Come aboard ! Ka'nm anBoru‘! KornmaiBord! F- 3:341“ f Instr. <2— Drums 2914 Example 113, page 50, line 3; page 51, line 1 lhesaL sflmndsSqm, ’ (+Harp) mi “0978 uni—JJZZZP l n st r Uums |n str Drums 295 Example 11M, page 6M, line 3 rall...__-..--..-- f A FeRRVMAN [Em -% 1358—11-19) FA HRMANN ’ T?— ti ff F Makehaste there, all of you!_ Come, get a' - Be-eill each, al-le ihr.'__ Auf, gehl an- I —:4—_—_... a. 22:11-14, m; f it? [it i i 296 Example 115, page 87, line 2 The shape of my child, His face, his well—be-lw-éd face! DieGeshll mel-nes Sohns, Sein An-lllz, as I‘m so viel ge-liebt. I lively p cresc. 297 singing of the chant in A, the Madwoman repeats her melody a whole step away in B, while the flute moves from Eb to Oh to A to 0 [Example 116, pages 106 and 107]. Pedal points and ostinati prove to be structural elements in the work. The organ pedal point of Example MO sustains a secuntal harmony consisting of two major seconds, thus emphasizing the interval of a second preva- lent in Curlew River. Example 26 shows a secuntal harmony played by the organ and constructed of two super- imposed minor seconds: A-Bb and C-Db. A major-second horn trill acts as a pedal point on the last page of Example 104. A, the basic E22 pitch, often serves as a pedal point, as in Example “8 and Example 29. A major seventh pedal point diminishing startlingly from ff immediately to pp adds a dramatic touch to the Madwoman's "passionate" melody (Example 117) [Example 117, page 2U, line 2]. Pedal points composed of the ritsu scale lend a distinctly oriental flavor to the organ passages in Examples 22, 28 and 30. A series of pedal points accumulate in stretto under the sequential pattern of the Madwoman's melody (Example 118). The bass intones its C#, the viola adds D# and B, and the horn F; the bass then changes to a D harmonic, after which the viola drOps out and the flute adds Ab [Example 118, page 31, line 3]. 298 Example 116, pages 106 and 137 ' ’V .0" I' A V '_'-’-' r r . r r V ‘ ' 7 7 7 I of the Fen-land, thoughyou float orfly, Wild birds, I can-not understardywrcry. - gel desllvbor-Lands, ad), Ihr fliegl mr-bel, Wildvd- -gpl, ich ver- sleh'ndieu-mSclrei. Flute , Ferryman. Traveller Abbot 8- thorus T p—---F——¥——-&—-— ' TTH—r—P—r—Qfl _ F—L——T———t——— - re 299 Example 116, Continued ' - . 7n Ilae In... thmundd fiul lwe. 53:: 3,1291! b, noch Hier... in die - serm Moll?" ’ ‘ ’F'-“\\ x’ q Ffljtg” *’ ‘99 by. " ‘3‘- £39 . ' ' . af’Flgt ?: _l_I I 1___l : —" ' Y Li. I v — ‘ EZEc. nmxHJ -/" Ferryman, Traveller. Abet . ChOVUSI. d F_ _. 7Q.- & A \ ‘ , -- - I r I A x - g: m- ,r . l a I! a a IL i #11; I : r 1 1_ If I Qund - qutd non s. _ nit : In _ - co .. - : I\ L "ll ‘1'! { 1" W ITAL— “fill.— ‘IH!|l—— all-<— L- g l | lfl\ I I tfi l - I - _ I A - l 1' r A -- - I n l I 1' - A I l 1' l f T I I ' l l L 1 I ‘7 f cresc. l A A __.—-—._—___——-— t A . - v f I I v - '“tll "1 "ill 'Wlll "1 '1 "1 l'1l —trr -—§flh l-nfij t i—m l—w 300 Example 116, Continued F lute H arp :‘V‘TMMW‘! Ferryman . ‘ andkx ' Organ Bells m. H 301 Example 117, page 2N, line 2 b m 9 ——0 Why the point of an ar- row 06- the day? Wiedurch Spi-Ize des Hell/5 Die lei! uns var- geh'? Trave 1 le r, 1 a C hor us Db. Madwoman Instr. Instr. 302 Example 118, page 31, line 3 L ‘ V ‘ F 1 V T ’ t me hewas tau-en East-ward, east-ward. sag-imam er Ion-209 as!- warts, as! - wfirts, 4t O ‘ r H“ W pphsiffl PP’35i’7’ I ' I Vla. “__— Jr l >-' >' n r ‘ 3: g - L \ ———¥+ ¥ ‘ ' r ‘ L—__ 7—4 A-long thedrovers’ track East, east. east. Den Viehfrieb album an- 05¢... 05!... (15 'r 7) PP (451,! 7) m 1 0b.”, ' ' ' FL gum . f 33:1,---uuuuuug m [k —" Iv v ' 303 Vocal pedal points also accrue in Example 119, beginning with the tenors' C; the basses add F, the baritones ab, and the Abbot E (ex. 119) [Example 119, pages 72 to 74]. Examples of the omnipresent ostinato are evident in the bass of Example 97, in the flute, harp and viola of Example 23, the flute, harp and horn of Example 83, the harp of Example 101 and Example 95; the horn trill and viola and bass ostinati Join the previously sounding harp ostinato in Example 10“. Glissando ostinati are played by the viola and bass of Example 40 and the harp of Example 63; the organ scale ostinato of Example 88 also resembles a glissando. The arpeggiated organ ostinato on page 72 of Example 119 implies bitonality; the lower notes outline a secuntal sonority with C as the possible root and the upper notes an Ab added-note sonority [Example 119, page 72]. Bitonality is also introduced in Example 32 in the ostinato played in octaves by the flute, harp, viola and bass against both the E pedal point in the horn and the choral melody beginning in E Phrygian. The trill figure reiterating in Example 66 against a viola pedal point on G: B-C on the harp, C-Db on the bass, Db-C on the horn, Eb-D on the viola and G-F# on the flute result in the illusion of microtones. Similarly, in the bitonal passage of Example 85 the horn ostinato consisting of a C dominant minor Abbot 3018 Example 119, page 72 'n RAVE LLER . I > m REISEAOEP f ”'9” _ 5|, ; 119-“ m '33:? 'z '55 5 £72 ‘-‘_ I 5 ‘1: If The was her child, Der mr ihr Kind. m Tenors H’ A Heuasturchild. Er war ihr Kind. unod o ‘I - //.b ' __m -, --—_ :3 21:; _ 4115-" L—é—J I The mad-wo - - man was his mo- ther! D/e ir- re Frau hier war die Mat-fer! A Shehasfound hts grave here by the river. z _ _ .. _ _ _ __ _ Sie bnd sein Grab hier an dem Flusse 7. tr -__ Baritones lab?“ 1 V i ’ fi Is this a dream? Or is it true shewas his mother? ‘I. She was his mother Sie war die/WIN! '15! dies ein Traum?ls! es denn wahI: sie war die Mutter? ‘l. fi 305 ~I Traveller '2... ==r:=-" ._ I gig The child sham seeking tbs find, das sie web-re! [P we: Abba Him she was seeking Er, aen sie suchte I ——'_-—~—-—.. T i .."'_—____::;:;:E£:;——-———— _ ' - ------ i <_: " ‘5- E - - - - - - - - — She has only found sorrowW. - .' Sie land einzig nur Trauer! 'l. - - B - . mo— .-. fl... _. a.-- - a - He who died here Was this poorwoman’s child. ‘ Der hier siarb, war aas Kind dieser armen Frau. uo— - —-.—-_—.—-- a... I--.-.- ~~— .— -- .-—.—...— .-_ . Abbot A A .___: Wasnottobetamv. .. .. _. .. - .. _ .. _ .. .. War nirvana zu linden. '/. 3;! 306 ninth arpeggio, the flute's arpeggiated ri£§3_scale and the harp's rapid alternation vertical structures encom- passing C-Db—E-F#—G-A-Bb produce microtones. The drums' rhythmic ostinati frequently delineate musical sections, thus serving in a formal capacity. The pattern X TK .- 1.} . )6 .-...... -... (_ )(MX I 4 (Example 22), which immediately follows the opening hymn and continues until the first choral entry, returns to lead into the last chorus [Example 120, page 121]. The ostinato containing the approximately pitched pattern $1- -_. .-. \1 A..." ll“; 1 “”I ~ . c“ i A: L7 Y7 ; / . l f 1 [ __ (Example 78) lasts through the instrumental section of the introductory music (shidai). Each time the Ferryman's motive C—l appears, it is r** ; underlined by the rhythmic motive 1 . * [Example 121, page 8, line 2]. The ostinato \’ V _. ‘ 7\ n > \\ \' ; v’ \ <: 7; I E 1 7‘ i> \/ ; “‘T ' "“1 r /\ T f i ‘ \ / ‘ __ -,_. T t 2 ‘——_' "J RKL i\ i . f , ,1" xx _— \\ //:I -. ' .J 307 Example 120, page 121 E321. : At Our Cur-|ew_ Rt — ver_. here. Mder Mo- wen - flan ver - la'ufl. §£?§_9{§L::s~—+ ~ he, ,gg A wo-man was heard Ei-neFrau mug— her/I ..-_--.-... .1.‘ A wo-mm with griet__ dis~traught.:_ Ei-m Pau- vam Schmerz wr-ww; @ mth grief... dis-traught. Schmerz_ ver- wirn. (cresa) Example 121, page 8, 308 FERRYMAN / '1 I line 2 it!" ‘ 1:1. I__ am the fer-ry-man. Ich____ bin der Fihr -mann. 3 I . ‘ I E h at A : fig-f? if “T”? m c [ :Lfi—irf - _::-*::::f"m?'r”x -3-—-:f _ 1...--- i:::'f.“ “ TE” -‘_;F§.%j__ 11:”.-. -- ~T:£ .-—.—. - --—o A aria Instr. Drums 1 Ich- _... rov7the ter-ry boat {Uhr'das Fihr- £00! g_____ 309 (Example 97) marks the section in which the chorus cruelly mocks the Madwoman. The first section of a dialogue (rongi) between the Ferryman and the Madwoman ”-T- “r o .1- is punctuated by the motive* x; § (Example 53). The pattern -1111-“.1111111_-111111_-lm-fl_1-111 x, E i g ;1 91” 24 J b 14>; ; $( 7.117.--. "WW” W “W? WT” iWWt’FW" .‘ \‘w/" ‘w..-,...< ' (Example 103) provides a dramatic foundation for the various canonic entrances of the machiutai (waiting song). The ostinato previously associated with the instrumental introductory music appears in its retrograde form in the instrumental closing music (Example 110): ”is“ l 1’ ' 1" " LIT—L 1;; Q; ' ‘7 W r z a) / L. 7— ‘ ‘%‘“"**““"f””*“*“"”‘ r . / i? f l '_ A! 1 “ ‘Y i ’ I la, y’ .1“ r "\ Rhythmic patterns ,g_fl_u-g\ ma...- n-—.———J—l —— -.. ——:-_ “m—v‘~— _ _ ..,.>./ ,_____ 3‘-.. .. __ I \ \ \ A 1 -11... Y E" ‘ \rl / (Examples 51 and 62) and x Wm,\ E;J*_ l , \ : \ \ fi' 1. E , i §K (Example 84) with their inversions imitate the Madwoman's motive E—l. In ..|.|l.. .i 310 Harmonic Structure Harmonies are often arranged in patterns; in fact, many of the previously—described patterns are primarily harmonic: the harp and viola patterns of Example lOU, forming polychords C + U and Ab + 2; the quartal harp pattern of Example 58; the triadic harp arpeggios of Example 37; the quartal harp and viola arpeggios of Example 51, and the quartal instrumental accompaniment of Example “1. Most of the harmony, therefore, is static instead of progressing as does functional harmony. Typical examples of the static harmony may be noted in Example 22 where the sho chord #1 in G (ritsu scale) is sustained; in the organ harmonic pedal, comprised of the ritsg scale, of Example 30; and in the ritsg_organ chord of Example 196. The only functional harmony in the entire work begins in Example 38. The harmony progresses in Eb from lV-I-IV, modulating to C through the Ab major chord which as IV in Eb becomes the altered VI in C, derived from the parallel minor. The effect of harmonic resolu- tion matches the emotional resolution given voice by the boy's spirit, "Go your way in peace, Mother, the dead shall rise again." Harmonies occasionally function as rhythm to mark off phrases or groups of beats. For instance the secuntal chords (like those of the sho) mark off the phrases in each measure in Example 106, and the organ harmonies in 311 Examples 2“ and 25, punctuate the phrases sung by the Abbot and chorus. Many of the harmonies are based on the principal melodic notes of the sho (see Figure 13). The sho chord #1 (G major with added second and sixth) appears in Example 22, sh2_chord #6 (G# secuntal) in Example 70 and sho chord #11 (D 9 + 6) in Example 122 [Example 122, page 120, measure 1]. Every harmony contains the interval of a second, most of which are major in quality. All are either quartal (Example 41), secuntal (Example 106) or added-note bm + u sonorities (such as the Fm + U of measure 3 and the E of measure 9 in the organ accompaniment of Example 106). In the sole triadic section (beginning in Example 37) the harp, which outlines simple triads, is accompanied by repeated patterns of seconds and fourths. Even here the interval of a second prevails. The minor seventh, so common in sho harmony, appears quite frequently; patterns may be seen in the viola of Example HM and of Example 40. In nohgaku the minor seventh often results from the superimposition of two perfect fourths. The same situation may be found in Example U1. In the second measure, for instance, the organ quartal sonority C—F-Bb results in the minor seventh C-Bb that matches the minor seventh played by the viola and the minor seventh resulting from the linear statement of two perfect 312 Example 122, page 120, measure 1 A bbot in sad this-chance in schlim- mer Not Organ Drums 313 fourths, the same intervals C-F-Bb. In the next measure the same procedure takes place with regard to the minor seVenth B-A resulting from the two perfect fourths, B—E and E-A. As mentioned in the section on pedal points and ostinati, the major second very often acts as a pedal point (see Example 22, Example 30, the last page of Example 119; Example 2“ and Example 71). It will be noted again that nearly every harmony contains a major second. Most harmonic rhythm is slow in the passages where actual harmony occurs, especially since the harmony often appears as an ostinato. For example, pages 39 to U7 of the score (part of which can be seen in Examples 78, 81 and 104) consists harmonically of one ostinato; similarly the harmonic ostinato begun in Example 83 persists for two and one—half pages of the score. An exception to this practice occurs in Example 106, where the harmonic rhythm consists of changes each measure. Sometimes the independent rhythmic and melodic lines substitute for the harmony by coloring the melody and impelling it to its cadence. In Example 33 the notes E and C encircling the cadential tone D create such an illusion. Similar occurrences are seen in the F# and D encircling the cadential E on the word "flow" (Example 59) and in the A and F# encircling the cadential G# on "that stranger" (Example 55). 31“ The cadential tone is sometimes approached from the third below in characteristic Japanese six-to-one melodic movement as in the Bb to Db of the first measure of Example 36, in the Eb to Db of Example 108 and in the C to E of Example 39. Neighboring tones often lend stress to a cadential tone, as may be noted in the lower neighbor cadential figures D-C-D and B-A-B in Example 99. Many of the rhythmic patterns seem to fulfill a quasi—harmonic function. They undoubtedly color the melody; whether or not they impell it toward its cadence must be a subjective matter and cannot be stated as fact, although they certainly seem to contribute toward the cadential feeling. The fact that the pattern 61ft” (Example 113) lasts the length of each phrase may have some bearing on its cadential implications. The same point may be made of the pattern 161%? in Example 99 and indeed of most of the drum patterns. Rhythmic Structure Much of Curlew River involves free rhythmic patterns similar to plainchant, in which the length of the text and the vocal accents determine the rhythm. Barlines are eliminated or used only for convenience (as in Example 36). And of course plainchant itself pervades the work (Examples 26 and 63). 315 Considerable rhythmic augmentation exists in the composition. In Example 30 the Abbot and basses sing a transposed rhythmic augmentation of the Ferryman's melody to the words "row" (Example MB): A-E-C -D-C#-A-B (which in turn is an augmented version of the Ferryman's motive, Example 35). A rhythmic pattern decelerates through augmentation in a single measure [Example 123, page 18, line 2]. The entire section in Example 9D is an augmentation of Example 96. I In Example 10“ the melodic palindrome which is first sung in eighth notes appears in augmentation in quarter notes, beginning with the tenor at no. 102. The descending figure is then doubly augmented, again begin- ning in the tenor [Example 12“, page Q6]. In Example 8“ augmentation gradually decelerates the Madwoman's motive, from A7!’ r f" 1 F L . i_____ :5 111J 1,. W FF FF 7 1 77.______J Vi t° grrrrrrrr. . 9 - 316 Example 123, page 18, line 2 ‘fiawflkw Instr cram». 317 Example 12“, page H6 0/. Enyman float or_ Hie-g! var - fly, be!) hammer float or— fly. meg: var — ' be: F—J—fi Oman I 0'! 3 a Bt. 0 still I die - U Abbot & B. In this world Hier,__ he; in Hue WHd buds... M6 -Mem____ b : Wild birds— M6 - W90,— live, ser Vie/f , 318 Example 12“, Continued : cannot under- stand your cry." . Ich_ wesreh'nthreu - - rm SCMI'."_.__. : I A >- Traveller T; WT ‘1 1 1 W f 1 L ; I cannot under-stand your cry." I Ich_ tier-summit eu - - rdeireif' Organ _L 3; I r:.......... _ :, T W“ W'WtrfW‘: - . ngv - ":- WWW-— m still_.. live?" Ah. 3 die - ser Melt?" ACh c M b" r . ___...g‘ at “ Wt?" “W813: 3?:__11__. 0 ~ 3 — , ___... - --_. still live?” Ah. I die - ser Welt’" Ach m=3 —3—...—" ”if“ 13 «Lite; 1.3 kg; :3 53,: 1‘: . Slill_______ live?" Ah. He'll, die - - ser Welt?" Ach. ’1": titer-e (file’s- Rm? ‘4, w: 4 7 p {I bl.- 319 Conventional time signatures only appear occasionally, (despite Imogen Holst's statement in the introduction to, the effect that they do not appear at all), bar lines or dotted lines indicate sections in which the music contains a regular pulse and metric patterns; in these sections the meters change frequently. For instance, Example “1 changes at nos. 168 and 169 from i to 3 to 3. The com- bination of free and measured rhythm that typifies Curlew BEKSE is represented in Example 75. The lengths of phrases vary considerably and cannot be ascertained in terms of bars since barlines do not occur consistently. Where measures are apparent, a rhythmic emphasis often appears on the first beat of the measure or after a phrase. In Example 70 the drums accentuate the first beat of the measure (assuming that both dotted and solid lines represent barlines). The first-beat emphasis is even more apparent in Example 106. In Example 41 the sixteenth note triplet drum pattern follows (in diminution) each of the Madwoman's eighth-note triplet melodic phrases. In Example M2 the drums first resound a rhythmic anticipation of the Ferryman's musical comment (m. 1); from the third measure on the rhythmic patterns of the drums are canonically imitated in stretto by the Ferryman's melody. Although the basic eight-beat rhythmic organization of noh is apparent in the hymn Te lucis (Example 6N), 320 Curlew River has no regular rhythmic phrase structure; phrase lengths vary. However the characteristic 22h practice of keeping the first beat tacit and beginning the melody on the second is retained to a great extent. Most of the melodic phrases are preceded by a rest. Representative passages may be noted in Examples 106, 2“ and 3H. Rhythmic counterpoint, with rhythmic patterns of differing length, is sometimes extremely complex, as in Example 12“. The individual voices sing with such rhythmic freedom that the curlew sign/n is provided in most of the parts to allow the performers to wait until all have reached the same point in order to proceed to the next measure. in Example 111 the organ provides a slightly antici— patory heterophonic accompaniemnt to the unison vocal lines while the harp plays an ostinato whose length does not correspond to that of any of the other phrases or measures. Over this the flute superimposes the Madwoman's motive, entering at approximate points and adding a still different phrase length to the others. The ostinato pattern of Example 32 does not coincide with the phrase length established in the heterophony per- formed by the voice and organ, thus creating an effect of rhythmic displacement. 321 Example 10“ illustrates an instance in which the completely separate lines of the individual parts result in a rhythmically free and intricately interwoven section. Rhythmic displacement is evident in the drum pattern of Example 109; the five-pitch ostinato is displaced by the four-beat measures. Hemiola is represented by Example 30, in which the 3 meter appears against 3. Also, the organ's anticipation of the melody creates a rhythmic displacement and the octaves and unisons do not quite coincide, resulting in a microtonal effect. Form The formal organization of Curlew River is strictly determined by the structure of noh drama, and the jo-ha-kyu 75 principle is carefully retained. The jg, consisting of the first dan, opens with the so—shidai, the priest entrance music, as the Abbot and his company of monks, acolytes and instrumentalists file in, singing the tripartite compline hymn Te lucis which establishes the mode and provided the basic material for all of the melodic structures. All movement ends when the monks sing the "amen," ending on A, the basic noh pitch. During the so-shidai the Abbot and monks set the scene, singing music (in free form) taken directly from the chant. 75It might be helpful at this point to refer back to the description of noh structure, pages 47 to H9. 322 I The shidai (introductory music) begins on page 6 of the score (see Example 71) with an orchestral interlude, as the principal actors in the forthcoming play are cere- monially dressed. The shidai also ends on A on page 8 (see Example 27). Then the shidai (introductory song) is sung by the Ferryman, the waki (second in importance) and the BBQ (song) by the chorus on page 10 (see Example 30). The ha opens on page 1“ (see Example 37) with the second dag, which begins with the Traveller's shidai, or opening music, followed by the jidori (repetition) beginning on line 3 of page 1A (see Example 89). The michiyuki (traveling music) begins on line 2 of page 16 and consists of a tripartite form taken from the Traveller's shidai, with Te lucis (the so—shidai) and the waki's shidai serving as the contrasting section. This too ends on A. The chorus' BEE returns on page 19 and their comment ends the second dag. The third dag begins on page 20, line 2, with the issei (literally the "first voice"), the entrance of the principal characters. It is perhaps indicative of the nature of ngh_that the leading character is not actually seen at this time. The flute flutter- tongues one of the Madwoman's motives; this is followed on page 21 by the off-stage voice of the Madwoman singing a tripartite song consisting of her motives E—l, E-2, E-S and E-6 (see Example 100). In the return to the first section 323 of the song (page 23) the Madwoman's melody is literally repeated; the other parts are changed (see Example 75). The free-form kakeri dance begins on page 25 (see Example 23), preceded and followed (on page 27) by a sageuta, a short song in a relatively low register (same as that in Example 93. The Abbot and chorus then sing an ageuta, a higher—pitched song (see Example 31). The i§§§i_(first song) of the shite (principal character) begins on page 29; its form is bipartite, with the B sections consisting of an inversion of the A sections, as may be seen in Example 96. Here the B section, which begins on the second line, is constructed of a series of repetitions of an inversion of the motive reiterated in the A section as seen in line 1 of Example 96. The choral sageuta returns, again commenting on the dramatic situation (Example 93). This is followed by a return of the first choral 333 and then, beginning on page 3“, the important mgndg, the question and answer section between the shitg_and the HEEL: much like recitative dialogue in Western Opera. The chorus sings the canonic ageuta, adding its lyric commentary on the previous dialogue (see Example 10“), and the third dag concludes with a repetition of the wafii's shidai on page 49 (similar to Example 27). The fourth dag begins with the bipartite "hayashi" interlude on page 50 (see Example 113). The Traveller, 32H Abbot and chorus sing a tripartite uta) beginning on page 51 (see Examples 39 and 88), followed by sashi (recitative) on page 5A. The nakairi, which begins on page 6A, is a brief instrumental interlude and choral song usually designating the area between the two acts. In Curlew River the two acts of the original Sumidagawa are incorporated into one, but the nakairi is retained (see Examples llu and 32). The roggi, the dialogue between the shite and the HEEL: begins on page 68 (see Example 53). The Traveller, Abbot and chorus interpolate their comments (see Example 119) and then the 533i begins on page 75 (see Example 51). Here the drama has reached a climax and the 5331, sung by the shite, contains the highest note of the composition (also called the £231). In this case the note is the Bb sung to the word "crow" (see Example 52). The Egg; is constructed in a modified tripartite form, with the middle section an inversion of the corresponding section of the issei (first song) sung by the Madwoman (see Examples 3A and 106). The "A" section begins on page 77 immediately after the 533i note and is comprised primarily of a sequence of a phrase taken from the first section of the kuri and sung in diminution (see again Example 52). The Madwoman then sings a phrase (on page 79) borrowed from the choral sageuta and the chorus follows with its uta similar to the one sung on page 10 and again on page 33 (see Example 30). Both the ha and 325 the fourth dan close with the canonic machiutai (waiting song), beginning on page 82 (see Example 103). The E13, which is comprised of the fifth dag, begins on page 85 with the issei (see Example 95), which contains the largest and most dramatic leap of the com— position, an octave and a third (Example 66). The chorus returns on page 89 with its uta based on Te lucis (see Example “5); then the mondo presents its dialogue between the shite and the waki, beginning on page 90 (see Example 56). On page 97 the choral ageuta begins, comprised essentially of the hymn Custodes hominum (see Example 21). This proves to be the largest and most elaborate song of the entire work. The traditional ma; (dance) follows (beginning on page 115), during which the spirit moves around the Madwoman who is freed of her madness in the climactic moment of the drama [Example 125, page 115]. A hayashi interlude similar to the shidai (introductory music) of page 6 returns on page 119, and pages 120 to 121 return literally to the second part of the so-shidai first stated on pages 2 to 3 (see Examples 50, A6 and 69). The only slight variation may be seen in the sixteenth-note figure emphasizing the word "grief" on page 121, line 2 (Example 120). 8 The Kiri, the final comment of the chorus, appears on page 122 (Example 108) and consists of an inversion of the choral section of the so-shidai first seen on page 5 326 Example 125, page 115 The SPIRIT cwcles shyly round “WAN who Imus transformed. Der GEIST Wife! Iangsam um die IRRE Mmdlo vmu'll mm. _'b -_-.. ._ - __—_§;’_ _3 t 5 4.3::— E—‘f—hH— 34L}— Hutu/:4 ——-—- “ ' Ft MF—L—H— H-IF—F-F ”simply —'=_'—: 3’ p % 327 (Example 2“). Curlew River ends with a literal return to the very beginning, the hymn Te lucis. The internal form of sections paralleling recita— tive is determined by the text phrases, as in plainchant. This is also true, of course, of the two hymns used, Te lucis and Custodes hominum. Similarly, the form of each song is determined by the text of the poem to which it is set. The chorus participates vitally in the piece and many sections are responsorial, alternating between the soloists and the chorus, as in Example 120. A scheme of repetition, not only of motives but of entire sections throughout Curlew River add to the unity of the work and the symbolic implications of those sections. Section 1, comprised of Te lucis, appears first on page 1, then subsequently on pages 6, 17, 60, 89, 119 and 123, either in part or totally; Section 2, the Abbot's song, is sung by the Abbot on page 2 and again on page 120. Section 3, the opening chorus, is sung on pages 5 and 123. In all three cases the music appears at the beginning and the end of Curlew River, stressing the cyclical or arch form of the work. Section A, the Ferryman's song, is sung wholly or in part (and always by the Ferryman) on pages 8, 11, 17, 35, U9, 5“ and 6A. The choral comment that comprises Section 5 is introduced on page 10 and repeated by the chorus on 328 pages 19, 33 and 79. The Traveller sings his song, Section 6, on page 1A and again on page 18. The Mad- woman's song, Section 7, is sung by the Madwoman herself on pages 21 and 75, and mockingly by the chorus on page 36. The sadder, more philosophical choral commentary that constitutes Section 8 appears on pages 25, 27, 32, and 72, this time sung by the Madwoman who makes the bitter comment herself, "0 River Curlew, O curlew, cruel bird!" The Madwoman sings her issei on page 29 and on page 69; the last section that is repeated, the sailing music that first appears on page 50, when the boat first starts on its journey, is sung by the chorus on page 65 when the passengers have reached their destination. CHAPTER VIII CONCLUSIONS Peter Mennin's group of songs shares a respectable number of characteristics in common with both Curlew 53133 and hogaku. An interesting similarity is revealed between the melodic palindrome structure of both In the Quiet Night and Curlew River, for instance. A specific comparison may be seen in the accompanying chart (Figure 17). Generally the similarities appear to lie in the emphasis on linear structure and contrapuntal techniques, the use of motives or melodic patterns, a preponderance of conjunct motion, bitonality, pedal points and ostinati, rhythmic freedom and complexity, and the predominance of secuntal, quartal and added—note sonorities with their special emphasis on perfect intervals and seconds. It may be observed that these characteristics are also often found in Western music that has no relationship whatsoever to hogaku. So Mennin seems to have selected those traits and techniques inherent in hogaku that most resemble the twentieth-century neo-classic style in which he is prone to write. 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InqocmHogomoC oz ICopCH moosHCouCH HouCoECCumCH III III Ill 1 . Jlfi [1 I1 Co> m quCju no-5 mozflczgm HH.1 oz” uzth pozjz ogu CH Cawzn :wz m3“ RH nwugm mmdzdz ax» no 5Com z :xduoc ho moHumHLouomLoCU oosCHpCoovr.mH oCCme 3U2 The resemblance seems to stOp there. Mennin has (unfor- tunately, in the writer's opinion) chosen to ignore one of the most important attributes of hogaku: the exquisite and sensitive wedding of words and music. He frequently violates the natural vocal inflection of words in order to carry out a musical idea not related to the text. He shows negligible interest in tone painting, and the words seem to be merely an insignificant framework upon which to hang the fabric of his musical ideas. Curlew River is another story indeed. Britten's remarkable score displays an intimate knowledge of both the techniques and the aesthetic of hogaku, especially of noh and gagaku. Alfred Frankenstein, in his review, "Britten's Curlew River--'Burnished Bronze Solemnity,'" claims that the composition "may well be the most beautiful dramatic work he has written. Certainly it is the most distinctive in style and its infinitely sad Orient- colored pages haunt one's memory for many days after each hearing."76 Unlike Mennin, Britten has gone to great lengths to "marry" the music to the words so that the two are truly inseparable. He has drawn upon Japanese scales, heterophony, microtonal ornamentation, harmonic and melodic patterns and even Japanese vocal and instrumental tone colors. The 76Alfred Frankenstein, "Britten's Curlew River-- 'Burnished Bronze Solemnity,'" Hi-fidelity (June, 1§66), p. 69. 3143 structure of his parable follows the structure of 222 drama in practically every detail, and the manner in which he uses tone painting and symbolism imbues the work with the essence of the BBQ mystique. Donald Mitchell, Britten's publisher, states, Although Mr. Britten writes that ”there is nothing specifically Japanese left in our parable," the number of parallels is striking. They might be summed up in tabular form as follows: Sumidagawa Curlew River No conductor No conductor All—male cast All-male cast Small number of musicians Small number of musicians "Ancient Japanese music, "I have started the work jealously preserved by with that wonderful plain- successive generations.‘ song hymn 'Te lucis ante (Britten) terminum' and from it the whole piece may be said to have grown.‘ (Britten) This summary list of parallels could be extended, but I think the table, so far as it goes, suggests the way in which the composer's mind has registered the impact of Sumidagawa.77 The list of parallels could most certainly be extended, as the comparison chart indicates. At any rate Curlew River should be clearly recognized as a conscien- tious attempt by a serious composer to translate the essence of hogaku into terms meaningful to Western ears. In the writer's opinion the attempt is not merely success— ful, but inspired. 77Donald Mitchell, "The Background," notes enclosed with the recording Curlew River (OSA 1156 A #156). BIBLIOGRAPHY 31414 BIBLIOGRAPHY Books Apel, Willi. Harvard Dictionary of Music. Cambridge, Mass.: Harvard University Press, l9uA. Araki, James T. The Ballad-Drama of Medieval Japan. Berkeley and Los Angeles: University of California Press, 196“. Benedict, Ruth. The Chrysanthemum and the Sword. Rutland, Vermont: Charles E. Tuttle Company, 195“. Bowers, Faubion. Japanese Theatre. Foreword by Joshua Logan. New York: Hill and Wang, 1959. Britt, Matthew, Rev. The Hymns of the Breviary and Missal. New York: Benziger Brothers, 1936. Dening, Esler. Japan. New York: Frederick A. Praeger, Inc., 1960. Hall, John Whitney and Beardsley, Richard K. Twelve Doors to Japan. New York: McGraw-Hill Book Company, 1965. Hindemith, Paul. The Craft of Musical Composition. New York: Associated Music Publishers, Inc., 1937. Hironaga, Shizaburo. Banraku, Japan's Unique Puppet Theatre. Revised by D. Warren Knott. Tokyo: Tokyo News Service, Ltd., iguu. Japanese Noh Drama. 3 vols. Prepared by the Japanese Classics Translation Committee and Special Ngh_Com— mittee of the Nippon Gakujutsu Shinkokai (The Japan Society for the Promotion of Scientific Research), with the collaboration of English and American scgolars. Tokyo: Nippon Gakujutsu Shinkokai, 1955- 19 O. Keene, Donald and Hiroshi, Kaneko. Bunraku, the Art of the Japanese Puppet Theatre. Tokyo, Japan: Kodansha International Publishers, 1965. Kiang, Kang-hu. The Jade Mountain. Translated by Witter Bynner. New York: Alfred A. KnOpf, 1939. 345 3A6 The Liber Usualis. Edited by the Benedictines of Solesmes. INEW York: Desclee Company, 1963. Malm, William P. Japanese Music and Musical Instruments. Rutland, Vermont: Charles E. Tuttle Company, 1969. . Nagauta, the Heart of Kabuki Music. Rutland, Vermont: Charles E. Tuttle Company, 1963. Mishima, Yukio. Five Modern N5 Plays. Translated by Donald Keene. New York: Alfred A. Knopf, 1957. O'Neill, P. G. A Guide to N6. Tokyo and Kyoto, Japan: Henoki Shoten, 1953. . Early N6 Drama. London: Percy Lund, Humphries and Company, Ltd., 1958. The Pelican History of Music. Vol. 1. Edited by Alec Robertson and Denis Stevens. Baltimore, Md.: Penguin Books, Inc., 1950. Reischauer, Edwin 0. Japan Past and Present. 3rd ed., rev. New York: Alfred A. Knopf, 1965. Sadler, A. L. The Heike Monogatari. Tokyo: Kimiwada Shoten, l9ul. Scott, A. C. The Kabuki Theatre of Japan. London: George Allen and Unwin, Ltd., 1955. Smith, Bradley. Japan, A History in Art. New York: Simon and Schuster, 196M. 'Thrall, William Flint and Hibbard, Addison. A Handbook to Literature. Revised and enlarged by C. Hugh Holman. New York: The Odyssey Press, Inc., 1960. 'Toki, Zemmaro. Japanese No Plays. Tokyo: Japan Travel Bureau, 195E: Ueda, Makoto. LiterarLand Art Theories in Japan. Cleveland, Ohio: The Press of Western Reserve University, 1967. Yasuda, Kenneth. The Japanese Haiku. Rutland, Vermont: Charles E. Tuttle Company, 1957. ‘Waleyy Arthur. The N5 Plays of Japan. New York: Grove Press, 1957. 347 Articles and Reviews Britten, Benjamin. "A Note by the Composer," in Britten, Curlew River. Notes accompanying London Record Album OSA 1156, Benjamin Britten, Curlew River, p. 1. COOper, Martin. "England/No for an Answer." Musical America, July, 196“, p. 26. Diether, Jack. "Curlew River." American Record Guide, July, 1966, pp. 103A-1036. Eckardt, Hans. "Sokyoku." Notes accompanying A Musical Anthology of the Orient, vol. 12, Barenreiter Recording BM 30 L 2012. . "Gagaku." Notes accompanying A Musical Anthology of the Orient, vol. 13, Barenreiter Recording BM 30 L 2013. . "The N6 Play 'Hagoromo.'" Notes accompanying A Musical Anthology of the Orient, vol. 17, Barenreiter Recording BM 30 L 2017. Foljanty, Detlef. "The Music of the Edo Period." Notes accompanying A Musical Anthology of the Orient, vol. 14, Barenreiter Recording BM 30 L 2014. Frankenstein, Alfred. "Britten's Curlew River—-'Burnished Bronze Solemnity,'" Hi-fidelity, June, 1966, p. 69. Graham, Colin. "Production Notes and Remarks on the Style of Performing Curlew River." Included with Curlew River by Benjamin Britten, 1965, pp. 3-19. Harich-Schneider, Eta. "Buddhist Music." Notes accompany- ing A Musical Anthology of the Orient, vol. 15, Barenreiter Recording BM 30 L 2015. . "The Present Condition of Japanese Court Music." Music Quarterly, 39 (January, 1953), pp. 49-7A. . "Shinto Music." Notes accompanying A Musical Anthology of the Orient, vol. 16, Barenreiter Recording BM 30 L 2016. Iflilst, Imogen. "Introduction" to Curlew River by Benjamin Britten, 1964, pp. ix-x. IWitchell, Donald. "The Background." Notes accompanying London Record Album OSA 1156, Benjamin Britten, Curlew River, p. 1. 31:8 Moor, Paul. "Aldeburgh Festival." Hi-fidelity, September, 196“, p. 21. Noble, Jeremy. "City of London Festival." Musical Times, September, 1964, p. 668. O'Neill, P. G. "Introduction" to Noh Plays of Japan, Caedmon Recording TC 2019, 1959. Osborne, Conrad L. "At Caramoor: Curlew River, Escorial." Hi-fidelipy, September, 1966, p. MA 1“. Rhoads, Kenneth W. "W. B. Yeats and the Japanese Noh Drama." An unpublished monograph, 1967. Warnke, Frank. "Birthdays in Holland." Opera News, October 17, 1967, p. 18. Warrack, John. "Britten's Curlew River." Tempo, Autumn, 196“, p. 19. Musical Scores Britten, Benjamin. Curlew River. London: Faber and Faber Ltd., 1965. Mennin, Peter. Crossing the Han River. New York: Carl Fischer, Inc., 1938. . The Gold Threaded Robe. New York: Carl Fischer, Inc 0 , 1974?. ‘ . In the Quiet Night. New York: Carl Fischer, Inc., 1938. . A Songiof the Palace. New York: Carl Fischer, Inc., 1938. Ancillary Musical Works Bantock, Granville. Five Songs from the Chinese Poets. London: Joseph Williams Ltd., 1933. . Six Songs from the Chinese. London: Elkin and Company, Ltd., 1920. Britten, Benjamin. The Big_Chariot. London: Boosey and Company, Ltd., 1959. 3149 Carpenter, John Alden. Watercolors. New York: G. Schirmer, Inc., 1916. Dougherty, Celius. The K'e. New York: G. Schirmer, Inc., 1954. Griffes, Charles. Five Poems of Ancient China and Japan. New York: G. Schirmer, Inc., 1916-1917. Lekberg, Sven. Birds Singing at Dusk. Evanston, Ill.: Summy-Birchard Publishing Company, 1960. Powell, Mel. Haiku Settings. New York: G. Schirmer, Inc., 1961. Read, Gardner. From a Lute of Jade. New York: The Composers Press, Inc., 1933. - Stravinsky, Igor. Three Poems From the Japanese. New York: Boosey and Hawkes, Inc., 19A7. Toch, Ernst. The Chinese Flute. New York: Associated Music Publishers, 0. 19H9} Webern, Anton. Die Geheimnissoolen Flote. Vienna: Universal Edition, 1925. DISCOGRAPHY 350 DISCOGRAPHY Authentic Folk Songs of Japan Frank Kumagai, tenor. Britten, Curlew River. Original production, music directed by Benjamin Britten and Viola Tunnard. Buddhist Chant. A recorded survey of actual temple rituals. Bunraku Puppet Theatre-- Samisen Music. Produced with the c00peration of Bunraku Kyokai. Classical Music of Japan. Yu-Zuru (Twilight Crane). Tokyo Philharmonic Orchestra and Toshiba Singing Angels, conducted by Ikuma Dan. Dan, Folk Music of Japan. Recorded in Japan by Edward Norbeck. Gagaku. The Kyoto Imperial Court Orchestra. JapanJ Its Music and Its People. Created and told by Cristobel Weerasinghe. Japanese Folk Music. ‘ Shogetsu Watanabe Society for Japanese Folk Songs. Japanese Kabuki Nagauta Music. Kyoto Kabuki Orchestra. Japanese Koto Music. Kimio Eta. 351 STANDARD — ST-LP-u2l LONDON - OSA-1156 LYRICHORD - LL-118 (2 12-inch records) TOKYO TELEVI ART - TTA-lOOl ELECTRA - EKS-7286 TOSHIBA - TB-7003&U FOLKWAYS - FE-UA29 LYRICHORD - LLST-7l26 DESTO — D-501 LYRICHORD - LLST-7l63 LYRICHORD - LLST-713u WORLD PACIFIC - WPST—lu23 352 Japanese Koto Music. With shamisen and shakuhachi, performed by master musiEians of Ikuta-Ryu. Japanese Koto Orchestpa. Koto ensemble of the Ikuta school. Japanese Masterpieces for the Shakuhachi. Played by the masters of Meian-Ryu, Kimpu-Ryu, Tozan- Ryp_and Kikusai-Ryu. Japanese Noh Music. The Kyoto Nohgaku Kai. Japanese Poetry Chant. With music (reikin, shakuhachi hachi and hotaki), Shafu Abe, poetry singer. Japanese Temple Music. Recorded in Buddhist temples. Kimio Eta, Koto Master. A Musical Anthology of the Orient. Edited for the International Music Council by the Inter- national Institute for Com- parative Music Studies; Record 12: The Music of Japan: Sokyoku. A Musical Anthology of the Orient. Record 13: The Music of Japan: Gagaku. A Musical Anthology of the Orient. Record 13: The Music of Japan: Music of the Edo Period. A Musical Anthology of the Orient. Record 15: The Music of Japan: Buddhist Music. LYRICHORD - LLST-7l3l LYRICHORD - LLST-7167 1 l LYRICHORD - LLST-7l76 f LYRICHORD - LLST-7137 LYRICHORD - LLST-7163 LYRICHORD - LL—117 WORLD PACIFIC - WP-1328 BARENREITER-MUSICAPHON - BM—30 L 2012 BM-30 L 2013 BM-30 L 2013 BM-30 L 2015 353 A Musical Anthology of the Orient. Record 16: The Music of Japan: Shinto Music. A Musical Anthology of the Orient. Record 173 The Music of Japan: No-Play/Biwa and Chanting. Nagauta-—Kyokanoko Musume Dojpji. Noh Plays of Japan. Recorded in Tokyo under the supervision of Mary Evans. Toyama, Michiko, Waka and Other Compositions Juilliard Orchestra, Michiko Toyama conducting. Traditional Dances of Japan. Recorded in Japan by Mary L. Evans. Weill, Kurt, Der Jasager. (An opera in two acts, based upon an ancient Japanese app play). Dusseldorf Children's Chorus and Chamber Orchestra. Siegfried Kohler conducting. Zen,_Goeika and Shomyo Chants. Recorded in Japan by Katsumasa Takasago. BM-30 L 2016 BM-3O L 2017 DENON — CLS-5008 CAEDMON - TC-2019 FOLKWAYS - FW-8881 FOLKWAYS - FE—3356 HELIODOR - HS-2-5025 LYRICHORD — LL-ll6 APPENDICES 353 APPENDIX I CHECKLIST 355 L; Ln- ". 9;“ F-fl 10. ll. 12. 13. 13. APPENDIX I QUESTIONNAIRE Melody What scales are used? Do the melodies imply harmonies? If so, what kind? What intervals of key modulations if any? Do the notes remain the same but the tonal center move? What interval if so? If Dorian and Phrygian modes are used, does the melody move freely between the two? Does the melody stress notes directly above or below the tonic? Does the song begin on the second or fourth note of the scale instead of tonic? Does the melody repeat the 5th or 7th note of the scale before the lst appears? Does the 6th note of the scale act as a leading tone, moving directly to tonic? Do tones a whole step below or half step above function as neighboring ones to it? Does the melody consist of patterns derived from the scales? Do any of the patterns imply E minor or D minor harmonies? Are any of the patterns based on P.3th's, with a strong emphasis on m7th's? If so, do secondary pitches encircle the 3th as means of going from one 3th to another? 356 150 l6. 17. 18. 19. 20. 21. 22. 23. 23. 25. 26. 357 Does the melody move to a neighboring tone first when higher 3th moves to a lower 3th? Does the line of the melodic pattern follow that of vocal inflection? Is there any Sprechstimme? Are a number of motives sung individually and then combined? Is there considerable variety in dynamics? Is there much variety in tone quality? Is there a somewhat narrow ambitus? Predominantly stepwise motion? Is the vocal line decorated with ornamental tones, glissandos and/or trills, resulting in microtones? Are the higher tones reserved for tenser moments? Are there any dramatic melodic patterns (such as tremolo effects)? Is there much tone painting? Linear Characteristics Is the music predominantly linear? Is there melodic counterpoint? What contrapuntal techniques? How closely does each melody follow the dictates of the text? Do the individual lines sometimes sound like two arpeggios sharing a common harmony instead of two independent lines? Any heterOphony? If so, does one voice carry the original melody while others parallel it with ornamented lines including trills and glissandos? Is there any bitonality? How far apart are the tonal centers? A Whole step? Are there pedal points and/or ostinati? 358 Harmonic Structure Are the harmonies arranged in pattern? Is the harmony static then, instead of progressing as functional harmony? D minor and E minor harmonic pattern? D minor ostinati throughout except for embellishments? Do harmonies function as rhythm to mark off phrases or groups of beats? Are the harmonies based on the principal melodic notes of the composition? Can the harmonies be considered quartal or secundal because of prominence perfect intervals and of seconds? Or can they be added-note sonorities? Does the minor-seventh chord appear often? Does the major-second act as a pedal-point? Is the harmonic rhythm slow, usually changing not more than 2 or 3 measures? Do any of the independent rhythmic and melodic lines substitute for the harmony by coloring the melody and impelling it to its cadence? prthmic Structure Are there any rhythmic cadential formulas similar to Western harmonic ones? Rhythmic ostinato? Any rhythmic duets: complex variety of rhythms against a simple drone? Are there free rhythmic patterns similar to plain- chant in which length of text and vocal accents determine rhythm? Is there a rhythmic pattern of 3, fl, 3 or i containing rhythmic augmentation? ‘ Are there changing meters? 10. 11. 12. 13. 13. 15. 359 Is there a combination of free and measured rhythm or a basically free rhythm with some measured beats? Is the meter a fast 3, a medium fl or 2 + i or a slow 8? Or 2 + 3? 3‘ 3 3' Are the phrases 3 bars long, 3 + 2 bars, or 5, 6, or 7 bars long? Is there a rhythmic emphasis on the first beat of each measure? After each phrase? Is there a basically 8-beat rhythmic organization? If so, is the first beat tacit with the melody beginning on the 2nd? Are a specific number of syllables sung within each eight-beat structure? Is it a 7 + 5 division of 12 syllables? Is there rhythmic counterpoint, with rhythmic patterns of differing length? Is the rhythm simple? Is each beat subdivided into triplets? Form Is the form determined by text phrases as in plain— chant? Does the accompaniment function formally (not harmonically or melodically) indicating phrase endings or delineating sections? Is the form responsorial, alternating between soloist and chorus? Is the form tripartite? Does it consist of an introduction, exposition and resolution? Is it A B A, with B ending on V or II of the mode? Does it begin with a short phrase that establishes the mode? Is it presented by the soloist and followed by the chorus and orchestra? 10. ll. 12. 360 Is the form determined by the form of the poem to which it is set? Is it a theme and variations with new material interpolated between each section? Are instrumental interludes interpolated between a group of songs? How many parts of songs and interludes? 3 to 6? If 3, are they two songs and interlude? If 6, introduction, 3 songs and 2 interludes? Is the form simple binary or ternary, set to 3-line poems of 7-7-7-5 syllables? APPENDIX II COMPARISON OF LIBRETTI TO SUMIDAGAWA AND CURLEW RIVER 361 3632 APPENDIX COMPARISON OF LIBRETTI TO SUMIDAGAWA CURLEW RIVER The scene is set in a church in early medieval times. (A company of Monks, Acolytes and Lay Brethren with their Abbot walk in procession to the acting area.) ABBOT, MONKS Te lucis ante terminum, rerum Creator, pcscimus, ut pro tua clementia, sis praesul et custodia. Procul recedant somnia, et noctium phantasmata: hostemque nostrum comprime, ne polluantur corpora. Praesta, Pater piissime, patrique compar Unice, cum Spiritu Paraclito, regnans per omne saeculum. Amen. (The Lay Brethren go to their instruments and the Abbot comes forward to address the congregation.) ABBOT Good souls, I would have you know the Brothers have come today to show you a mystery: how in sad mischance a sign was given of God's grace. MONKS A sign of God's grace. ABBOT Not far away where, in our reedy Fens, the Curlew River runs, not long ago amid souls akin to you a sign was given of God's grace. MONKS A Sign of God's grace. ABBOT As candle-shine in a dismal place, a freshet spilt in a desert waste, as innocence outshineth guilt, a sign was given of God's good grace. ABBOT, MONKS (variously) O pray for the souls of all that fall by the wayside, all alone. 0 praise our God that lifteth up the fallen, the lost, the least. ABBOT Beloved, attend to our mystery. (The Honks who are to play the Madwoman, the Traveller and the Ferryman are ceremonially Prepared. While the Madwoman and the Traveller leave the acting area with the Acolytes, the Abbot and the Chorus, representing the Pilgrims in the boat, withdraw to their seats, and reveal the Ferryman) ”'apanese hon Drama, frontispiece. :Br.tten, Curlew River, pp. 1-133. II 78 AND CURLEW RIVER79 w Persons: Ferryman of the Sumida River Waki Traveller from Miyako Waki-zure Mother, a mad woman Shite Ghost of Umewaka-maru, her Child Kokata Place: Sumida River, Musashi Province Season: Spring (Stage-attendants place a framework mound covered with willow branches in front of the Orchestra, inside which the ghost-child is hidden.) (While the entrance music nanoribue is being played, the FERRYMAN OF THE SUMIDA RIVER enters the stage and stands at the Shite Seat. He wears a striped kimono, suo robe and trailing divided skirt. ——_ a“. 363 FERRYMAN I am the ferryman. I row the ferry-boat over the Curlew, our wide and reedy Fenland river. In every season, every weather, I row the ferry-boat. ABBOT, PILGRIMS Between two kingdoms the river flows; on this side, the Land of the West on the other, the Eastern fens. The river flows-- between two kingdoms the river flows. FERRYMAN Today is an important day, many people need the ferry to reach the other bank. There the folk are gathering to pray before a grave, as if it were a shrine. A year ago today there was a burial; the river folk believe some special grace is there to heal the sick in body and soul. Today is an important day, mark this well, all of you! Mark this well! (He sits in the boat. TRAVELLER I come from the Westland, from the Westland, on a journey. Far, far northward I must go; weary days of travel lie before me. ABBOT, PILGRIMS (variously) Far, far northward he must go; weary days of travel lie before him. TRAVELLER Behind me, under clouds and mist, heaths and pastures I have crossed; woods and moorlands I have passed, many a peril I have faced; may God preserve wayfaring men! (arriving at the ferry) Here is the bank of the Curlew River, and now I have reached the ferry. (The Ferryman is about to cast off) I see the ferry-boat about to leave. PILGRIMS Between two kingdoms, 0 River, flow! On this... TRAVELLER (interjecting freely) Ferryman! PILGRIMS ...side the land... ...of the West, on the... TRAVELLER (continuing as before) Have you a place for me? A place for me in your boat? PILGRIMS ...other, dyke and marsh and mere, the land of the... ...Eastern fens, the Eastern fens. FERRYMAN (cutting in, as he rises) Very well, sir, There is room for you. Pray get in. Pray get in. But first may I ask you what is that strange noise up the highway there? (The voice of the Madwoman is heard off) MADWOMAN You mock me, you ask me whither I go, whither I go. The Traveller approaches) FERRYMAN: TRAVELLER: FERRYMAN: I am he who rows the ferry across the Sumida in the province of Musashi. Today I must quickly ferry people across the water because we are holding a solemn memorial service for someone at the village on the other side of the river where both priest and layman are gathering in great numbers. fl Mark this well, all of you! (Sits down in : front of the Chorus .) L (While the entrance music shidai is being played, the TRAVELLER FROM MIYAKO enters with a mushroom hat on. He wears a striped kimono, kakesu5 robe and white broad divided skirt. TRAVELLER To the far Eastland I am bound, To the far Eastland I am bound; Tedious days of travel lie before me. CHORUS To the far Eastland I am bound; Tedious days of travel lie before me. I come from Miyako. I have a friend in the Eastland and now I am going there to visit him. Behind me wrapt in clouds and mists Lie the mountains I have crossed, Lie the mountains I have crossed. Many a barrier have I passed through, Many a province have I traversed. Here lies the far-famed Sumida, And now I have reached the ferry, And now I have reached the ferry. Travelling in haste, here I am at the Sumida ferry and over there I see a ferry—boat about to leave. I will make haste and board it. Hi boatman! I want to get in your boat. All right sir! Get in. But may I ask you what is the meaning of that unusual noise from where you have just come? (Sits on the Waki seat to the right of the Traveller.) 363 FERRYMAN May I ask, did you see who it is that is singing? MADWOMAN You mock me! You ask me! How should 1, how saould I know? TRAVELLER TRAVELLER: It is a crazy woman from Yes, the people were watching Miyako and people are amused by her a woman in the road mad dancing. who seems to be crazy. They say she comes from the Black Mountains. MADWOMAN Where the nest of the curlew is not filled with snow, where the eyes of the lamb H are untorn by the crow, I the carrion crow. I TRAVELLER The people were amused E when they heard her singing; they all began laughing. MADWOMAN There let me, there let me go! TRAVELLER (as the Madwoman comes into view) She is coming this way. FERRYMAN FERRYMAN: Then I will delay the ferry- I will delay the ferry-boat. boat for a while and wait for the mad I will wait for the madwoman. creature. MADWOMAN (her voice cutting in on the Ferryman's) Let me in! FERRYMAN I should like to see her. MADWOMAN Let me out! Tell me the, tell me the way! FERRYMAN, TRAVELLER, ABBOT, PILGRIMS (Chattering freely in two parts, but in an undertone) She is coming this way! We will wait for the madwoman. MADWOMAN Let me in! Let me out! How can you, how can you 53'... FERRYMAN, TRAVELLER, ABBOT, PILGRIMS before) (“x D) U) We will delay the ferry boat! We wish to see her. MADWOMAN ..why the point of an arrow divideth the day? Why to live is to warm an image of clay dark as the day? FERRYMAN, TRAVELLER, ABBOT PILGRIMS (33 previously) 3 We wish to hear her singing. (While the entrance music issei is being We will laugh at her crazily singing. played, the MOTHER appears and stops on the Eri‘geway by the First Pine. She wears a Fukai mask, wig, painted gold—patterned under-kimono, embroidered koshimaki outer- kimono, broad-sleeved robe. She has on a mushroom hat, and carries a spray of ALL bamboo. She wanders raving, raving, and all alone. HADWOMAN Let me in! Let me out! I turn me, I turn me away! Turn me, I turn me away! 3’73 MADWCHAN (arriving at the ferry and taking a 3'JQ\ few steps to the left, then to the right, ;z7gf\ distraught, as if dancing} 4*]1'1 IT? iii a; :12" ‘ 365 Clear as a sky without a cloud may be a mother's mind, but darker than a starless night with not one gleam, not one, no gleam to show the way. All is clear but unclear too, love for my child conf‘uses me: where is my darling now? Where? Where? Where? Shall I ask these travellers? ABBOT Or will they also laugh at her... ABBOT, PILGRIMS ...as she wanders raving, and all alone? MADWOMAN (falling to the ground) Does he know his mother's grief? ABBOT, PILGRIMS Dew on the grass sparkles like hope and then is gone. Dew on the grass, etc. MADWOMAN Dew on the grass sparkles like hope; dew on the...on the...the... It's here; it's gone! (She collapses completely) ABBOT Is she to pass her days... PILGRIMS Dew on the grass... ABBOT ...complaining of their bitter taste? PILGRIMS It's here...it's gone! MADWOMAN (raising her head and gazing into the distance) Near the Black Mountains there I dwelt, there I dwelt, far, far in the West there I was living with my child, there with my only child. One day alas he vanished: one day he vanished: with silence every room was full, full of his absence, roaring like the sea! My only child was lost, seized as a slave by a stranger, a foreigner. They told me he was taken eastward, eastward, along the drovers' east, east, east! track Clear and unclear in mind eastward I wander on, on, in longing for my son. (she weeps) ABBOT, PILGRIMS (in unison) A thousand leagues may sunder a mother and her son, but that would not diminish her yearning, her yearning for her child. TRAVELLER Will her search be at an end here, at the Curlew River, now she has reached the Curlew River? ABBOT, PILGRIMS The river flowing between two realms... MADWOMA‘I (rising) :‘erryman, let me get into your boat! MOTHER "Although a mother's mind May be unclouded, She well may lose her way Through love of her child." How true that is! Where does my darling stray? Shall I ask these travellers? Does he know his mother's grief? CHORUS "Does not the skyey wind WhiSper to the waiting pines?" (The MOTHER advances on to the stage and performs a kakeri dance.) MOTHER In this world fleeting like the dews Upon Makuzu Field, CHORUS Should I thus pass my days Complaining of my bitter day? MOTHER For many years I lived In Miyako, at Kita-Shirakawa; Then suddenly I lost my only child, Kidnapped by a slaver. {IR . :7 / _’ ;.I{J ‘ -— \ They told me he was taken I III Beyond the Osaka Barrier \alyxf‘ Eastwards, to far—off Azuma, :\€/ Since when with mind distraught “ I wander on my desperate quest, Torn by longing for my boy. (Weeps.) "Though he be a thousand miles away 'Tis said--a mother ne'er forgets her child, And yet the bond of parenthood Cannot survive the grave, Cannot survive the grave. Ah! Woe is me That even in this world I must be parted from him Like the "four young birds that left their nest." Will my weary quest end here? Now I have reached the Sumida, Now I have reached the Sumida That flows between Musashi and ShimBSa. I'C‘l II :LR Iray, boatman. Let me get into the boat. 366 ABBOT, PILGRIMS ...on this side, the land of the west... MADWOMAN Ferryman, Ferryman! ABBOT, PILGRIMS ...on the other, the Eastern fens. MADWOMAN Let me get into your boat! FERRYMAN FERRYMAN How can I take you in my ferry-boat, Where are you from and where are you going? unless you tell me where you have come from, and where you are going? MADWOMAN MOTHER I come from the Black Mountains! From Miyako I have come in search of Searching for, searching for someone. someone...someone... FERRYMAN So you come from the Black Mountains! I tell you, Black Mountain woman, any fool can see your feet are wandering, your thoughts are wandering too. MADWOMAN Let me get into your boat! FERRYMAN FERRYMAN: Since you are a woman of Miyako I will not take you across the Curlew... and mad to boot, I will not take you FERRYMAN, TRAVELLER, ABBOT, PILGRIMS aboard ”“1955 you amuse “3 "it“ one ...unless you entertain us with your singing... or your crazy dances. (In the following passage, the entries con- tinually overlap, repeating ad lib) TRAVELLER, PILGRIMS (baritones) We want to hear your singing... FERRYMAN, PILGRIMS (tenors-~insisting) ...unless you entertain us... TRAVELLER, PILGRIMS (baritones) ...crazily singing! FERRYMAN, PILGRIMS (tenors) ...with your singing! ABBOT, FILGRIMS (basses: cutting in, overlapping) Make us laugh with your singing,... TRAVELLER, PILGRIMS (baritones: cutting in...) We want to hear you singing,... FERRYMAN, PILGRIMS (tenors--insisting still) Unless you entertain us,... ABBOT, PILGRIMS (basses) ...Madwoman! TRAVELLER, PILGRIMS (baritones) ...crazily singing! jEii EERRYMAN, PILGRIMS (tenors) 4 ;;‘; 2:! ...with your singing! f3¢fl‘fi, (70"? Unless you entertain us! )Q"&g;; ' \Jf>\ ALL Ls4s{;3. ‘sge I, Show us what you can do! ng" L:§;=l Madwoman, sing! MADWOMAN MOTHER: What a clumsy way of speaking! ignorant man! Since you are the Sumida ferryman, you You refuse a passage should have answered, "Come on board, for to me, a noblewcnan! the day is spent," It ill becomes you, Yet you refuse a passage Curlew ferryman, To me, a city lady, such incivility. How ill-becoming a Sumida boatman To speak so rudely! FERRYHAN FERRYMAN: How like a woman of Miyako to This Black Mountain woman use such elegant language! uses a high-flown way of talking! 367 MADWOMAN Let me remind you of the famous traveller who once made a riddle in this very place: "Birds of the Fenland, though you float or fly, wild birds, I cannot understand your cry. Tell me, does the one I love in this world still live?" (She turns, watching the flight of the birds) Ferryman, there the wild birds float! I see the wild birds fly! What are those birds? FERRYMAN Those? MADWOMAN Gulls you may call them! Here, by the Curlew River, call them, I beg of you, curlews of the Fenland. FERRYMAN I beg your pardon. Living in this famous place I should have known to call them Curlews of the Fenland. MADWOMAN Instead of gulls. TRAVELLER A traveller at this very place cried:... (From now on, the entries overlap) MADWOMAN "Tell me does the one... ...I love in this world still live? TRAVELLER Thinking of his lady love... (The Madwoman makes as if she would follow the birds) FERRYMAN She, too, They're only common gulls. is seeking someone lost TRAVELLER ...yearning for a woman. FERRYMAN Searching for... 0.0a son. PILGRIMS (very softly) Birds of the Fenland, FERRYMAN, TRAVELLER Both derive from longing, both from love. "Birds of the Fenland," she will ask, but answer they will not. "Birds of the Fenland, though you float or fly, wild birds, I cannot understand your cry." PILGRIMS (with ABBOT) ...will ask you too, "Is the child I love still living?" She will ask, but answer they will not. She will ask, she will ask, but answer they will not. "Tell me, does the one I love in this world still live? Ah!" (The Madwoman gazes into the distance) she... (variously) ABBOT, PILGRIMS Birds of the Fenland, she has heard you crying there in the West, in the mountains, in her home. How far, how Birds of the very far, Fenland, comes this wandering soul. MOTHER: Your words remind me of the poem Narihira once composed at this very spot. "0, birds of Miyako, If you arerworthy of your name, Tell me, does my love still live?" 0, boatman, yonder is a white bird not .found in Miyako. What is its name? (Turns toward the right.) FERRYMAN It is a sea-gull. MOTHER: How unpoetical! By the sea you may call it a gull or a plover or whatever you will, but here by the Sumida river why not "Miyako-bird?" FERRYMAN Truly I was in the wrong! Living in this famous place 'Twas thoughtless of me, Instead of Miyako—bird MOTHER To call it sea-gull. FERRYMAN So Narihira long ago MOTHER Asked, "Is she still alive?" FERRYMAN Remembering his lady in Miyako. MOTHER Moved by like yearning, I am seeking my lost child In the Eastland. FERRYMAN To long for a sweetheart, MOTHER To seek after a lost child, FERRYMAN Both spring MOTHER From love. (The Mother turnsh1h§ toward the Wag; ’“ Front.) CHORUS O, Miyako-bird, I too will ask you, O, Miyako-bird, I too will ask you, Is my dear child still living Somewhere in the Eastland? I ask and ask, but it will not answer. Oh, rude Miyako-bird! I'll call you 'rustic-bird.‘ "By the River Horie Where boats hurry past each other, Miyako—birds utter their cries:" There at Maniwa in the West, Here by the Sumida in the East-- How far I have come from home! h FERRYMAN TRAVELLER, ABBOT, 368 (Coming forward, the Madwoman goes up to the Ferryman and Joins her hands in supplication) TRAVELLER, ABBOT, PILGRIMS (variously ...) Ferryman, she begs of you to let her come aboard, She sees the boat is crowded, but let her come aboard, let her come aboard! Ferryman, she begs of you to let her come aboard. This madwoman seems, though her mind may be wandering, to know what she seeks. Lady, be quick and come aboard! And you too, Traveller. Come aboard! Come aboard! To navigate the ferry-boat is not easy. The river is glassy, but the devil himself with strong—flowing currents can drag the boat aside, and carry away all who are in her. Be careful and sit still. God have mercy upon us! TRAVELLER, ABBOT, PILGRIMA God have mercy upon us! FERRYMAN Hoist the sail! (The Madwoman boards the boat. The Traveller sits sideways behind her. The Acolytes hoist the sail. The Ferryman stands at the back and plies his pole) ABBOT, PILGRIMS Curlew River, smoothly flowing between the Lands of East and West, dividing person from person! Ah, Ferryman, row your ferry—boat, bring nearer, nearer, person to person, by chance or misfortune, time, death or misfortune divided asunder! Bring nearer persons by time, death or misfortune divided asunder! TRAVELLER What are all those people crowded on the other bank near that yew tree? PILGRIMS Bring nearer, nearer persons divided. FERRYMAN (stopping poling) Today is an important day, the people are assembling in memory of a sad event. I will tell you the story. It happened on this very day a year ago. There was a stranger in my boat, a Northman, a for- eigner, a big man armed with a sword and a cudgel. He was on his way to take ship to the North-land. (poles once) And not alone. There was a boy with him, a gentle boy, twelve years old maybe, and a Christian. The Heathen said he'd bought him as a slave. The boy said nothing. I could see he was ill—-unused to travelling rough. (poles once) Poor child. When we had crossed the river, he said he was too weak to walk, and down he lay on the grass near the chapel. (poles once) The Heathen threatened him, swore at him, struck him. He was a man without a heart, and we feared he would kill the boy, but he left the boy where he was, and went on his way. (poles twice) FERRYMAN: But, pray, O boatman, Let me come on board. Though crowded be your boat, 0, let me too on board, I pray! So sensible a mad woman I never saw. Be quick and come aboard. This is a dangerous crossing; please take care and sit still. You, too, traveller, get in. (Slips his right arm out of his kimono and picks up his pole. The Mother removes her hat and holding it in her left hand, steps forward as if getting into a boat and sits down. The Traveller sits sideways behind the Mother while the Ferryman stands at the back and plies his pole. TRAVELLER: Why are all those people gathered together over there, under that willow-tree? FERRYMAN: They are holding a solemn memorial service connected with a sad tale which I shall tell you while the boat is crossing to the other side. It happened last year, on the fifteenth of the third month; yes, and this is the very day on which it happened. A slave-trader was on his way to the North- east, taking along with him a boy he had bought--a tender lad some twelve years old. Wearied out by the unaccustomed hardships of the road, the boy was seized with a mortal illness. He was so weak, he said he could not drag himself a step further, and lay down on the bank. What heartless men there are in this world! The slaver abandoned the boy by the roadside and went on his way. 369 Abandoned by his master, the boy lay alone. The river people pitied him, took care of him. But he grew weaker and weaker. We asked him who he was, where he was born. "I was born," he said, "in the Western Marches; from my pillow, when I first opened my eyes, I could see the Black Mountains. I am the only child of a nobleman. My father is dead, I have lived alone with my mother. Then, walking alone in our own fields, I was seized by that stranger. He threatened to kill me... But there was no need: I know I am dying... Please bury me here, by the path to this chapel. Then, if travellers from my dear country pass this way, their shadows will fall on my grave. And plant a yew tree in memory of me." He spoke these words calmly, like a man. Then he said a prayer:--Kyrie eleison! TRAVELLER, ABBOT, PILGRIMS Kyrie eleison! FERRYMAN And then he died. (The Madwoman weeps) TRAVELLER, ABBOT, PILGRIMS Kyrie eleison: Kyrie eleison! FERRYMAN The river folk believe the boy was a saint. They take earth from his grave to heal their sickness. They report many cures. The river folk believe his spirit has been seen. TRAVELLER, ABBOT, PILGRIMS Kyrie eleison! Kyrie eleison! FERRYMAN (steering the boat towards the land) There may be some people from the West in this boat. Let them offer prayers that the sould of that boy may rest in peace. TRAVELLER, ABBOT, PILGRIMS Kyrie eleison! FERRYMAN Look! While you were listening to my story, we have reached the bank. Lower the sail! (The sail is lowered and the tomb can be seen) Make haste there, all of you! Come, get ashore! (Traveller, Abbot and Pilgrims leave the boat and approach the tomb, singing as they go. The Madwoman remains in the boat) TRAVELLER, ABBOT, PILGRIMS Curlew River, smoothly flowing between the Lands of East and West, dividing person from person. Ah, Ferryman, row your ferry—boat! Bring nearer, nearer, person to person, by chance or misfortune, time, death or misfortune, divided asunder! (The Traveller turns and addresses the Ferryman) TRAVELLER I'll remain here today. I cannot Journey on today. Though I never knew the boy I'll offer up a prayer for him. ABBOT Though he never knew the boy... ABBOT, PILGRIMS ...he'll offer up a prayer for him. (The Ferryman turns and looks at the weeping Madwoman) But the people of his neighbourhood, Judging from his appearance that the lad was of gentle birth, nursed and tended him as best they could. But perhaps because of his karma, he grew worse and worse. When he was at the point of death, we asked him, "Where were you born, who are you?" "I was born in Miyako--he replied--at Kita- Shirakawa, the only child of Lord Yoshida. My father being dead, mother and I lived alone. Then I was kidnapped and now am brought to this pass. Please bury me here by the roadside, so that passers—by coming from dear Miyako may at least cast their shadow over my grave: and plant a willow- tree in memory of me." He said these words, calmly, like a man; invoked Amida Buddha several times, and died. What a piteous happening! (The Mother weeps.) There may be some people from Miyako in this boat. Let them offer prayers for the repose of his poor soul, even if they are not relations of the dead lad. Look! While you were listening to my long and tedious tale, the ferry has reached the bank. Make haste and land! TRAVELLER: I will surely remain here to-day and though I had nothing to do with the lad, I will offer up a prayer for him. (Going to the Waki Seat, addresses the Ferryman and then sits down.) 370 FERRYMAN Come along there, you crazy soul! It's time to land, so get out of the boat. Come along there, get out of the boat! You must be soft-hearted to weep at my story, to weep so bitterly. Make haste there, step ashore! MADWOMAN Ferryman, tell me, when did it happen, this story you have told us? FERRYMAN Last year, at this time, on this very day, a year ago. MADWOMAN Ferryman, how old was the boy? FERRYMAN I told you, he was twelve, he was twelve. MADWOMAN What was his name? FERRYMAN But i told you all about him! I told you what he was, and how he came here. MADWOMAN Ferryman, pray tell me, tell me what his name was. PERRYMAN Oh, how should I know? His father was a nobleman from the Black Mountains. MADWQMAN And since then have neither, neither of his parents been here? FERRYMAN No one of his family. MADWOMAN Not even his mother? FERHYMAW Not even his mother! MADWOEAN No wonder no one came here to look for him! He was the child sought by this madwoman. TRAVELLER The boy was her child,... PILSRIMS ( He was h FERRYMAN Wh- could have dreamt it? The boy who died here! Her sad search is ended. It is ended after months of weary searching. PILORI” (tenors) the has found his grave here by the river. (basses) Is this a dream? Or is it true :he was his mother? MASWCJAL Am I dreaming? (after a pause) is this a dream? ABEL) Tze ma woman was his mother. , ~.A Him she was seeking ' t to be found. FERRYMAN: Come, my mad creature there! Why not get out of my boat? Hurry! How tenderhearted of you to shed tears over such a story. Please get out of the boat quickly! (Turns and looks at the weeping Mother.) MOTHER: Boatman, when did the event you have just told us take place? (Turns to the Ferryman.) FERRYMAN: It took place last year, in the third month, on this very day. MOTHER: What was the lad's age? FERRYMAN: Twelve. MOTHER: His name? FERRYMAN: MOTHER: Umewaka-maru. And his father's name? FERRYMAN: Lord Yoshida. MOTHER: Since then have neither of his parents been here? I“ FERRYMAW: Nor any of his kin. ;¢JSQ;. /‘.’\:K. ,' \‘ \ MOTHER: Much less his mother!§§::\:; \ FERRYMAW: No, that would have been out of the question. MOTHER No wonder, neither kin nor parent came. He was the child This mad woman is seeking. Is this a dream? 0 cruel fate! (Lets fall her hat and weeps.) 371 PILGRIMS (baritones) She was his mother! She has only found sorrow! TRAVELLER ...the child she was seeking! He who died here was this poor woman's child. MADWOMAN (rising) O Curlew River, cruel Curlew, where all my hope is swept away! Torn from the nest, my bird, crying in empty air. Now the nest of the curlew is silent with snow, and the lamb is devoured by the carrion crow... The innocent lamb... the heathen crow! Good people, good people, where shall I, where shall I turn? Tell me now! Take me back...take me back... Chain on my soul, let me go! Chain on my soul, let me... Chain on my soul, let me go! (sinking down) 0 River Curlew, O curlew, cruel bird! ABBOT, PILGRIMS Here where the Curlew... ...separates for ever, on that side the Land of the West and here the Eastern Fens. Here where the river for ever divides them, her sad search, her sad... FERRYMAN Who would have guessed that the boy was her child? Lady, I pity you, pity you! We pity you! TRAVELLER This madwoman was his mother... I pity you! We pity you! ABBOT, PILGRIMS ...search is ended. MADWOMAN Let me in! FERRYMAN Your sad search is ended! Now let me show you where the boy... ...is buried. TRAVELLER, ABBOT, PILGRIMS (variously) Lady, let him guide you to the tomb, the place where your wandering steps have brought you, This is the grave of your young child. That his soul may rest in peace, we all can pray. May heaven receive it!... FERRYMAN I beg you, please step this way. Lady, come with me. to the tomb) This is the grave of your young chi That his young soul may rest in pea we all can pray. May heaven receive it! For his young soul's repose, lady, 1 your prayer is best. ‘7 FRAvELLER, AEECT ..May heaven receive it! Let me out! Let me in! leading the Madwoman ld. 3e ’ I FERRYMAN: Who on earth could have dreamt of such a thing? Until now I thought it was none of our business. The boy was your child. You are to be pitied! (Puts away his pole and standing behind her, helps her out of the boat, then takes a few steps toward the mound.) Now let me show you where the boy is buried. Please come with me. n FAE: This is the grave of your dead Child. Pray for his soul's repose, a only you can do. (Goes to the Waki at and sits down.) *~_. r. U m m 372 MADWOMAN (turning away from the tomb) Hoping, I wandered on, hoping, hoping to find my son. ..-\ I have come alone (fl 1;} to the reedy land of Fens, , “f. 3" where all is strange to me, only to learn r ,.;1¢ /T%\ (1' > I $5” MOTHER I had hoped against hope To find my child And now I have reached strange Azuma, (Moves to the left, half facing :ZK the mound and sits gazing at it.) in all this earth, no road «:3:5““4 E;i\;$. leads to my living son. Hoping, hoping I wandered on-- I have come to a grave! Did I give birth to him to have him stolen and carried far, far away, here to the Eastern Fens to end as dust...dust... to end as dust by the road? 0, good people, open up the tomb that I may see again the shape of my child, his face, is well-beloved face! (She claws hopelessly at the tomb, then sinks down weeping) ABBOT He whose life was full of promise... PILGRIMS ...primised and is gone, (tenors) gone! ABBOT She who feels her life is passing... PILGRIMS ...she is left alone, (tenors) alone! ABBOT Left alone and weeping! PILGRIMS (tenors) Weeping! ABBOT, PILGRIMS May her weeping cease! PILGRIMS (tenors) Weeping... ABBOT, PILGRIMS ...cease! PILGRIMS (tenors) Weeping! (An Acolyte tolls the bell) FERRYMAN What is the use of tears? a whom can your weeping help? /1r;i‘ Jo, rather say a prayer ;§$:y\ that in the other world 'Lfiw the soul of your Child L? I may rest in peace. Rik“ Q, ufi‘s MADWOMAN Cruel! Grief is too great, I cannot pray, I am struck down. Here, on the ground, all i can do is weep. TRAVELLER This is not right. Lady, remember, all of us here may pray for your child: but your prayer is best to rejoice his young soul. MAUWOMAH What you say is true: I'll say a prayer for the soul of my lost child. Deafened by his silence, roaring like the sea. (She rises and faces the tomb) He is no more upon this earth; Naught but this mound remains. O , how cruel! Was it for this that he was born, To be taken from his native land, To the remotest part of Azuma, Only to become dust by the roadside? Does my dear child truly lie beneath this grass? CHORUS 0 you people there, Dig up the sod So that I may once again Gaze on his mortal form (The Mother turns toward the erryman and moves her hand as if to dig, then weeps. He whose life was full of promise is gone He whose life was full of promise is gone, And she whose life is worthless left behind Before the mother's eyes the son appears And fades away As does the phantom broom-tree. In this grief-laden world Such is the course of human life. The winds of death Scatter the spring-time flowers of life; The clouds of mutability O'ercast the shining moon That should light up the endless night of life and death. Now my eyes see how fleeting is this life, Now my eyes see how fleeting is this life. FERRYMAN: Your tears no longer serve; chant but your prayers for his repose in the other world. The moon has risen, The river breeze is blowing, The night is at its height, 'Tis time we began our night prayers. Asking her to join them They start to beat their gongs. MOTHER O'erwhelmed by grief The mother cannot say her prayer, But prostrate weeps upon the ground. FERRYMAH: This is not as it should be. However many people may gather together, it is a mother's prayers that will rejoice her dead child. So saying he hands the gong to the mother. MOTHER You say true-- I'll take the gong For my child's sake. 373 ABBOT, PILGRIMS The moon has risen, the river breeze is blowing, the Curlew River is flowing to the sea. Now it is night and time to pray. MADWOMAN I pray with the others... ...under the white... FERRYMAN And her prayers... MADWOMAN ...light of the cloudless moon. FERRYMAN ...go straight to heaven. TRAVELLER Her prayers go to heaven. ABBOT, PILGRIMS (Kneeling, facing the tomb) Custodes... FERRYMAN And, 0, to the numberless... TRAVELLER O, to the holy and glorious... FERRYMAN ...and to the glorious saints,... TRAVELLER ...to the holy saints and martyrs... FERRYMAN ...all the company... TRAVELLER ...all the company... FERRYMAN ...the holy company... TRAVELLER ...andOIO FERRYMAN, TRAVELLER (in unison) ...glorious, all the company holy and glorious, there, there in the blessed abode of eternal peacefulness, the abode of eternal happiness, all angels pray for us. Pray for us, all angels. Christ have mercy upon us. All angels, ray for us. All martyrs, pray for us. All saints, pray for us, pray for us! ABBOT, PILGRIMS (continuing their chant through- out the foregoing) ...hominum psallimus Angelos, naturae fragili quos Pater addidit caelestis comites, insidiantibus ne succumberet hostibus. Man quod curruerit proditor Angelus, concessis merito pulsus honoribus, ardens invidia, pellere nititur quos caelo Deus advocat. FERRYMAN, TRAVELLER, ABBOT, PILGRIMS Huc custos... MADWOMAN (turning away from the tomb and gazing into the distance) From the river I hear voices, like souls abandoned curlews are calling, FERRYMAN: Ceasing her moan, in a clear voice MOTHER: She prays with them under the shining moon. 4,, <1 \. o‘"- ,L I” {3“ \i If; ‘03'-\ / 1\, 5?‘ ' M ! .1 fl L4 Lil; FERRYMAN: Her thoughts wing straight To the Western Land of Bliss I I #7 V {\ FERRYMAN AND MOTHER Adoration to countless million Buddhas-- Each one Amida In the Western Paradise, The world of supreme bliss CHORUS Namu Amida! Namu Amida! Namu Amida! Namu Amida! MOTHER ' H')\ From the Sumida I fer‘ Join in the voices ‘ K¥J Of the breeze and waves. % > . CHORUS Namu Amida! Namu Amida! Namu Amida! MOTHER True to their name Miyako-birds Join the choir. GHOST AND CHORUS Namu Amida! Namu Amida! Namu Amida! (The voice of the Ghost of Umewakamaru is heard from inside the mound. 37!! "Birds of the Fenland, though you float or fly, wild birds, I cannot understand your cry. Tell me, does the one I love in this world still live?" FERRYMAN, TRAVELLER, ABBOT, PILGRIMS ...igitur pervigil advola, avertens patria de tibi credita tam morbos animi, quam requiescere quidquid non sinit incolas. ALL Sanctae sit Triadi... (At this moment the voice of the SPIRIT of the CHILD is heard, echoing the chant from the tomb) SPIRIT OF THE CHILD Sanctae sit Triadi... ALL (save the MADWOMAN) ...laus pia Jugiter... SPIRIT ...laus pia Jugitar... MADWOMAN MOTHER: Surely Just now among them I I thought I heard the voice of my child. heard my child's voice. He seems to be (The entries once more overlap) praying inside this mound. ALL (save the MADWOMAN) (Ceases to beat her gong.) Cujus perpetuo... SPIRIT (continuing to echo the chant) Cujus perpetuo... ALL (and SPIRIT echoing) ...numine machina. MADWOMAN I thought I heard him praying in his grave. ALL (with SPIRIT echoing) Triplex haec regitur... FERRYMAN PERRYMAN: We, too, have heard your child. We also heard it. We shall keep silent; say your prayer TRAVELLER alone' The voice of the child! ABBOT, PILGRIMS (echoed by SPIRIT) ...cujus in omnia... PERRYMAN We shall keep silent. TRAVELLER Say your prayer alone, lady. PERRYMAN Say it alone. MADWOMAN MOTHER: O that I might hear his voice O, but if only I might hear it,... but once again! , Namu Amida! B A SST’ PILGRIMS (Turns toward the mound and strikes gnat... the gong.) SPIRIT GHOST Regnat... Namu Amida! Mano Amida! MADWOMAN ...hear his voice once again! ABBOT, PILGRIMS ...gloria... SPIRIT ...gloria saecula. (All, save the Mad- woman, withdraw from the tomb) MADWOMAN The voice of my son, hear the voice of my son! (She turns towards the tomb) SPIRIT amen. 375 ALL (Save MADWOMAN and SPIRIT) Hear, his voice! (The SPIRIT of the Boy appears in full view above the tomb) See, there is his shape! MADWOMAN Is it you, my child? (The SPIRIT circles slowly round the MADWOMAN, who appears transformed) SPIRIT (returning to the tomb) Go your way in peace, mother. The dead shall rise again and in that blessed day we shall meet in heaven. ABBOT, PILGRIMS Amen! SPIRIT God be with you all. FERRYMAN, TRAVELLER Amen! Amen! ABBOT, PILGRIMS Amen! SPIRIT God be with you, mother. MOTHER (now freed from her madness) Amen! Amen! Amen! THE REST Amen! SPIRIT Amen! (The MOTHER kneels and covers her head. The Monks come forward and hide her from view. the Ferryman and the Traveller resume their monks' habits.) ABBOT (coming forward and addressing the congre- gation) Good souls, we have shown you here how in sad mischance a sign was given of God's grace. MONKS A sign of God's grace. ABBOT A vision was seen, a miracle and a mystery, at our Curlew River here. A woman was healed by prayer and a woman with grief distraught. MONKS With grief distraught. ABBOT, MONKS O praise our God that lifteth up the fallen, the lost, the least; the hope He gives, and His grace ABBOT In hope, in peace, ends (The Abbot moves away and the Monks, Acolytes Instrumentalists form a They sing as they go.) She, grace, that heals. our mystery. from the acting area, and Lay Brethren procession after him. ALTe lucis ante terminum, rerum Creator, poscimus, ut pro tua clementia, sis praesul et custodia. Procul recedant somnia, et noctium phantasmata: hostemque nostrum comprime, ne polluantur corpora. Praesta, Pater piissime, patrique compar Unice, cum Spiritu Paraclito, reghans per omne saeculum. Amen. CHORUS See, his voice and shape! (The GHOST OP UMEWAKA-MARU comes out of the mound and stands in front of the Waki seat. He wears a flowing black-hair wig, white broad-sleeved robe and white twill kimono. '“\L»\ MOTHER (g {-‘d‘.\ Is it you, my child? . 11' ~.‘;>3..,.( <\II \ '1: MRI-()2 /. / N . . J (tiny-‘- ___..;- GHOST Ea: Is it you, my mother? (Turns towards the Mother.) CHORUS And The The And as she seeks to grasp it by the hand, shape begins to fade away; 1 vision fades and reappears stronger grows her yearning. Day breaks in the eastern sky. The ghost has vanished; What seemed her boy Is but a grassy mound { Lost on the wide, desolate moor. Sadness and tender pity fill all hearts, Sadness and tender pity fill all hearts! 7%) <9"?! (The Mother drops the gong and hammer and runs up to the Ghost, who retreats and re—enters the mound. Dazed and weeping, she looks up and moves two or three steps towards the Shite Pillar. The Ghost reappears and stands at the Shite Seat. With stretched arms the Mother runs towards it, and attempts to embrace it, but as the Ghost retreats again into the mound, the Mother falls, clasping the empty air. Rising again she approaches the mound, gazing at the willow branches, then, disconsolate, retreats slowly to the Shite Pillar and remains there weeping.) APPENDIX III COMPARISON OF NOH STAGE AND CURLEW RIVER SET 376 377 . .ll 7 <;M:il|l“/ \“ ' l I ' :lil 4"": Drawing by Alix Stone of Colln Graham's stage set for Curlew Rlvcr 92 1‘9Q\ a 9- 0", \\ I \\ a- \\ c \\ Backstage area ‘3‘ \ O \ \ ‘5‘ \ \ Ramp Up __9 MAIN STAGE (boat area) Sup: up (Offsfagg area) Raised circle PLAN 0; STAGE 3‘ .—._._‘$ IQODIDIDICJDJD \\ rm QIDUIDIDD .‘ __.-___# IDBELIDDIDI J! l =4..._.V_ I y" g . l . ! . ! . ! .-I . I In .I _JLJl . A lefllfll-ZJQDL DQIDIDDIDID 4'Qi.._.____ The austere noh stage is built out into the audience and has a ram ¥recnroom./ p (the hashigakari) leading to the APPENDIX IV GLOSSARY OF JAPANESE TERMS 379 APPENDIX IV GLOSSARY OF JAPANESE TERMS Ageuta - type of song in noh, usually in higher register Asai — "flat or shallow" tone quality Banshikicho - ritsu mode on B Ei!a_- kind of Japanese lute Bugaku - dances performed at court Bunraku - Japanese puppet theatre Eushi — generic term for song ghi_- fourth basic tone of ryg_and ritsu scales Chikuzen-biwa — type of lute and its music Chirashi - division of bunraku puppet drama and of kabuki Chain - slow tempo in Buddhist chant. Chfion - 3 metrical rhythmic pattern in Buddhist chant. Da-daiko - large drum Dan - musical section Danawase — koto duet form Dangaishi - koto duet form Dangire - finale in kabuki Dengaku - theatrical ancestor of noh Densho - huge bell El — symbol similar to a sharp; also section sometimes interpolated between ha_and kyu in Jo-ha-kyu of gagaku 380 381 Fukai - "deep or intense" tone quality Gagaku - court music Gaku-biwa - lute used in gagaku Gaku-so - zither used in gagaku; predecessor of the koto Geza - kabuki off-stage music Gidayfi-bushi - a type of narrative shamisen music Gugyoku - combined free and measured rhythm gaigg - Japanese poetic form §a_- second section of tripartite formal structure Hakyoku - basically free rhythm with some measured beats Hansho - huge bell Hayagaki - "quick plucking" gaku-so patterns Hayashi - instrumental ensemble Heike-biwa - ancient lute and its music Egg - symbol similar to a flat Hennon - secondary tones of the fundamental scales used mainly for modulation Hichiriki - strident double-reed instrument similar to oboe, used in gagaku ensembles Hogaku - indigenous Japanese music Honchosi - type of shamisen tuning Honkyoku - shakuhachi music Honyoku - S metrical rhythmic pattern in Buddhist chant 51313 - giggg mode on E Ichibyoshi - measured rhythm Ichikotsu - the note D in Japanese music theory Ichikotsucho - the gagaku ryo mode based on D 382 Emayé - ancient court songs in — basic Japanese scale similar to Phrygian £353; - very slow, deliberate intonation in Buddhist chant l§§§i_- the "first song," a musical section in noh Jamisen - a three-stringed guitar, forerunner of the shamisen Jiuta - type of koto music J2_— literally "the introduction," first section in tripartite musical form Jo-ha-kyu - basic aesthetic theory in Japanese music; tripartite form embodying that theory Jokyoku - free rhythmic classification in Buddhist hymns Joruri - narrative shamisen musical form Kabuki — a principal Japanese theatrical form Kagura - Shinto music Kagura—bue - six-holed bamboo flute used in Shinto music and gagaku ' Kagegoe - drum patterns Kakeri - dance in noh Kakko - small gagaku drum Kaku — a note in old Japanese scale, similar to modal dominant Katarimono - a type of narrative shamisen music Kinshin - recent school of biwa playing Kiri - the final section in noh Kirigoe - very rapid, crisp recitation in Buddhist chant; also i metrical rhythmic pattern Kodugu — hand properties in noh Kokyfi - only bowed Japanese instrument 383 Koma-bue — gagaku flute Komagaku - "music of the right," derived from Manchuria and Korea, as well as indigenous Japanese music Koto - principal Japanese zither Ko—tsuzumi - hourglass-shaped drum Kouta - short shamisen songs Kudoki - division of bunraku puppet drama and of kabuki Kumiata - group of koto and/or shamisen songs Kuri - highest note in noh and section containing it Kuse - dance section, midpoint in noh Kyogen - comic play interpolated between acts in noh drama Kyu - last section of tripartite formal structure Machuitai - "waiting song," transition to last dan of noh drama Mai - dance Meri-kari - microtone embellishments. Miarawashi - division of banraku puppet drama Michiyuki - "road-going" music; entrance section in noh, kabuki and bunraku Mi-kagura - court Shinto music Mondo - important dialogue section in noh, in which plot unfolds Monogatori - section in bunraku Nakairi - section of gap drama containing choral song Naniwa-bushi - a type of popular shamisen music Netori - introduction in gagaku, setting mode Ni-agari - type of shamisen tuning Nibyoshi - measured time with changing meters. 3814 figbg_— rhythmic augmentation flgh_- classic Japanese theatrical form Nohgaku - the music of ngh_ Nohkan - flute used in ngh_ Nori - arrangement of syllables within eight-beat rhythmic organization O-Daiko - large drum Odori - dance; a section of Joruri formal structure O-kagura — music performed at court Shinto ceremonies Oki - section in kabuki and bunraku Ondo — type of folk song, usually responsorial Oshikicho - ritsu mode on A O-tsuzumi - hourglass-shaped drum Ritsu - fundamental pentatonic Japanese scale, with perfect fourth above starting note Ritsuyoku - melodies based upon ritsu scale Rongi - dialogue between principal actors in noh, responsorially intoned by chorus and shite Ryo - fundamental pentatonic Japanese scale with a major third above the starting note Ryoyoku — melodies based upon the ryo scale Sageuta - short, generally low-pitched song in noh Saibari - Shinto music intended to please or entertain the gods Saimon - hymn song later changed to secular topical satire Samurai — warrior San—sagari - type of shamisen tuning Sashi - heightened speech, recitative in noh Satsuma-biwa - type of lute and its music 385 Sawari - typical "rattle" of biwa tone Sato-kagura - Shinto folk and festival music ShakubySshi - wooden clapper Shakuhachi - recorder-like flute Shamisen - three-stringed Japanese instrument Shibuzen - 3 metrical rhythmic pattern in Buddhist chant Shidai - travel song, opening section of noh Shirabemono - principal type of koto music Shite - principal character in noh drama Shizugaki - "quiet-plucking" gaku-so pattern §E2.‘ type of mouthorgan §h§ - second note in ancient Japanese scale Shogun - literally "general"; political leader Shomyo - Buddhist chant Sokyoku - koto music So-shidai - priest-entrance music Sojo - ryo mode on G Sutra - hymn Tadabyoshi - mixed meters (3 and 3 or i and 2 in court music) Taiko - drum Taishikicho — ryo mode on E Take-bue - a bamboo flute Tanzei - sharp and rapid intonation in Buddhist chant Tegotomono — instrumental koto music Teikyoku - metrical rhythmic patterns in Buddhist chant 386 Togaku - "music of the left" derived from India and China Tomede - coda in gagaku Torimono — Shinto songs designed in praise of the gods or to enlist their help Tsukurimono - properties in_nghthat are wholly or partly symbolic g - basic note in old Japanese scales Uta - song Uta-zaimon - type of narrative shamisen song Utai - noh singing Utaimono - lyrical shamisen music Eaggn - six-stringed zither flaka_- poetic form; section in 222 form flaki_- principal supporting character in nah Essen - Japanese Buddhist chant Watarimono — transposed gagaku music Yamato-bue - early bamboo flute :9 - basic Japanese scale similar to Dorian Yugen - essence of supreme aesthetic expression