AN ANALYSIS OF THE LATER ORCHESTRAL STYLE 0F WALLINGFORD RIEGGER Thesis for the Degree of Ph. D. MICHIGAN STATE UNIVERSITY LEONARD W. OTT 1970 U llljjlllllllflzflfllfllfllfllljflllllljfllfllllflflllflllzlll This is to certify that the thesis entitled An Analysis of the Later Orchestral Style of Wallingford Riegger presented by Leonard W. Ott has been accepted towards fulfillment of the requirements for Ph. D. Music degree in Major professor Date November 13, 1970 0-169 the later 0? LBS-1961) has 7 azi nusicolcgtsti mic was admire- Association of C; as she New York i Eiegger works re: ievelopment and z thoroughly exam: Em selectt' these orchestral Haste Varia: Dance S‘mshc Var ; . 1a goose particular ABSTRACT AN ANALYSIS OF THE LATER ORCHESTRAL STYLE 0? WALLINGFORD RIEGGER by Leonard W. Ott The later orchestral style of Wallingford Riegger (1885-1961) has received little attention from theorists and musicologists. This is curious in that the earlier music was admired by his fellow members of the Pan-American Association of Composers, and enjoyed such critical acclaim as the New York Critics Circle Award in l9h8. The later Riegger works represent the final eXpression of his style development and comprise a body of music which has not been thoroughly examined. The selection of music for this analysis was limited to these orchestral works: gusic for Orchestra, Op. 50 (1950) Variations for Piano and Orchestra, Op. 54 (1952-53) Dance Rhythms, 0p. 9 Symphony No. 4, Op. 63 (1957) Variations for Violin and Orchestra, Op. 71 (1959) These particular works were chosen because they were all conceived after l9h9, after the appearance of the more acclaimed works. The analysis of the formal organization of Riegger's music reveals that traditional two and three-part forms and fugal procedures are the basis of the musical structure. The twelve-tone row, when it is employed, is a significant factor in m810< The rhyttr Busic. Sudden accomposer's zeters is freq teat are often tit-e signature Two-note ail-0‘18?) consc (”i‘uency, dis '35 malodtcalj 1331316 tel-tn such :1 On'tertj Liter-d ,‘ ° Quay The cede. I ”miles. usu ‘3‘ n°n'tradl {‘- Leonard W. Ott factor in melodic unity. The rhythmic element is extremely important to this music. Sudden tempo changes and syncopations are vital to the composer's rhythmic designs, and the device of changing meters is frequently employed. Borrowed divisions of the beat are often used, and occasionally simple and compound time signatures are used simultaneously. Two-note structures are prominent in Riegger's harmony. Although consonant intervals are used with the highest frequency, dissonant intervals are most often metrically and melodically accented. The other harmonic structures include tertian chords from triads to thirteenth chords, and such non-tertian structures as quartal, quintal and cluster, chords. Quartal strucutres and tone clusters are frequently used in parallel streams of chords. The cadences in these works often contain traditional formulas, usually employing modified dominant and tonic chords. The non-traditional cadences are made convincing through i rhythmic, dynamic and orchestrational means rather than by‘\ harmonic progression. Contrapuntal textures employing imitative devices are used most frequently, but homophonic textures also occur with traditional accompaniment patterns adapted to non-traditional harmonic practices. The instrumentation in these textures is traditional. The normal complement of strings, paired woodwinds, four toms, three trot sanderd orches’x lsilvldual instr‘ mi lowest 9055‘? frequently incl‘; are also imports. habitation wit‘r. alone. The use is the dental. involves doublin technique. Don's :lartnets and be i: this analys i 5 These wort“2 "y‘t we twentie t‘n .oe establis‘nei aiilt ion» and pt Hallihh“ “5‘ ori R16; ‘ A u‘, L ‘ 08 better ‘ h. Leonard W. Ott horns, three trumpets and trombones, and a tuba comprise the standard orchestra for these works. The ranges of the individual instruments are not extreme, and often the highest and lowest possible pitches are not exploited. Strings are frequently included in the orchestral texture, and woodwinds are also important. The brasses are usually used in combination with strings and woodwinds, only rarely appearing alone. The use of percussion in the instrumental combinations is incidental. A high percentage of the orchestration involves doubling, and the strings are often employed in this technique. Doublings of flutes, oboes and clarinets: and clarinets and bassoons are common to all the works examined in this analysis. These works serve to illustrate one man's attempt to unite twentieth century rhythmic and harmonic procedures with the established conventions of earlier style periods. In addition, and perhaps more important, these five works by Wallingford Riegger are effective pieces of music which deserve to be better known. AN ANALYSIS OF THE LATER ORCHESTRAL STYLE OP WALLINGFORD BIEGGER by Leonard WL'Ott A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Department of Music 1970 The author V and Dr. Paul 0. 3". suggestions giver. paper. The discuss: :aie possible by his works. The s. winter‘s, Inc. 3,.) ‘ e .anuscripts i ACKNOWLEDGMENTS The author wishes to thank his guidance committee, and Dr. Paul O. Harder in particular, for the valuable suggestions given before and during the writing of this paper. The discussion of Riegger's style in this format was made possible by the reproduction of short excerpts from his works. The author is grateful to Associated Music Publisher's, Inc. for permission to use their publications and manuscripts for this purpose. 11 LIST C? LIST CF EQUTPLES . IiiIEODL’CI’ICN . . . It i I II III IV a axes ."'n‘ TASLLD. . KCSIC PCP. Form. Rhytt Earn: vaalarxox: Form. Rhyti Harm: DM‘CE BR" TABLE OF CONTENTS LIST OF TABLES. . . . . . . . . . . . . . LIST OF EXAMPLES. . . . . . . . . . . . . INTRODUCTION. . . . . . . . . . . . . . . CHAPTER I MUSIC FOR ORCHESTRA, OP. 50. . . . Form. . . . . . . . . . . . . Rhythm. . . . . . . . . . . Harmonic Structures . . . . . II VARIATIONS FOR PIANO AND ORCHESTRA, Form. . . . . . . . Rhythm. 0 o o o o o o o e e Harmonic Structures III DANCE RHYTRMS, OP. 58. . . . . . . Form. C O O O O - I O 0 O O O O Rhythm. 0 o e e o e e o o Harmonic Structures . . . . . IV SYMPHONY NO. 4. OP. 63 . . . . . . Pom O O O O O O O O O O O O O Rhythm. 0 o o o o e o o o o Harmonic Structures . . . . . V VARIATIONS FOR VIOLIN AND ORCHESTRA, Form. 0 O O O O O O O O O O O Rhythm. 0 o e e e e e e e Harmonic Structures . . . . . VI CADENCES O O O O O O O O O O O O O O 111 PAGE vi 13 1a 26 ’l‘F‘D 's I 13...... ~. Minna“ X «.1 v. led ew‘taJaam . . . Contrapur. HomOphoni 8010 Pass Melodic if. ‘T' P " ”0-“ a .A‘. V sensoTPATIOX a: Fm a... O o . O . . “Veg: IA\T: "'UIV.‘U. . ° 0 g" :3 "t 0 . . . . . e ..'.F. a.” .3 ., “$de ' e CHAPTER TABLE OF CONTENTS, CONTINUED VII TEXTURES. . . . VIII ORCHE Contrapuntal Textures. Homophonic Textures. Solo Passages. Melodic Motion . STRATION . Instrumentation of Ranges . . Instrument Doubling . SUMMARY. . . CONCLUSIONS. TABLES . . . BIBLIOGRAPHY Gro Each Work upings iv 0 O O O 0 PAGE 126 126 153 165 180 181 181 183 183 196 233 2N3 2‘}? 263 i tabulation those u; Eat-sonic str" The percents. parallei Textures . Melodic motid tvrchestratioy Orchestratiog Orchestmtio Crchestratio Contain OTChBStratlc for ice LIST OF TABLES A tabulation of harmonic structures, excluding those used in parallel streams. . . Harmonic structures used in parallel streams The percentage of each work containing parallelism . . . . . . . . . . . . Textures . . . . . . . . . . . . . . . . Melodic motion . . . . . . . . . . . . . Orchestration--use of instruments. . . . Orchestration--ranges. . . . . . . . . . Orchestration--instrumental combinations Orchestration--the percentage of each work containing doubling . . . . . . . . Orchestration--instrumental combinations used for doubling. . . . . . . . . . . . PAGE 2&7 2h8 249 250 251 2 5a 255 260 261 262 ——I The example. insic Publishers ‘1 en. 9 ASH-3.: '? variati :zcert where not-'7 senate orchest: tresaruscript e‘ 3. . \. : I" \. l? T \. I; \' I Q' \. r: .. \' m ;' \. . .1 \- m 1. \. me E, \o m M /[/ Hit ME as m‘: The; LIST OF EXAMPLES The examples are reproduced with permission of Associated Music Publishers, Inc., from the works of Wallingford Riegger: Music for Orchestra, Op. 50, Copyright 1953. Variations for Piano and Orchestra, Op. 54, Copyrightl1955. Dance Rhythms, Op. 58, Copyright 1956. Symphony No, #, Op. 63, Copyright 1960. Variations for Violin and Orchestra, Op. 71, all rights reserved. Except where noted, examplesare reproductions of the complete orchestral score. Autograph scores are the source of the manuscript excerpts. PAGE 1. Music for Orchestra, Op. 50, 12-tone row. . . . . . . 9 2. , meas. 1-6 (woodwinds) . . . . . . . . . . 10 3. , meas. 20-22 . . . . . . . . . . . . . . . IO 4. , meas. 2n7-h8. . . . . . . . . . . . . . . 11 5. , prominent row fragments . . . . . . . . . 12 6. , meas. 172-73 (woodwinds). . . . . . . . , 12 7. , meas. 77-78 (woodwinds) . . . . . . . . . 13 8. , meas. 213-15 (horn and strings) . . . . . 1h 9. , meas. 138-AO. . . . . . . . . . . . . . . 15 10. , meas. 147-49. . . . . . . . . . . . . . . 16 11. , meas. 6h-66 (brasses) . . . . . . . . . . 16 12. , meas. 20-22 . . . . . . . . . . . . . . . 17 13. , meas. 43-4“ . . . . . . . . . . . . . . . 17 14. , meas. 95-97 (brasses) . . . . . . . . . . 18 15. , meas. 118-19. . . . . . . . . . . . . . . 19 16. _W, meas. 107-08 (woodwinds). . . . . . . . . 20 17. . meas. 58-59 (WoodwindS) . . . . . . . . . 21 vi Music for C; I \~ 22' \. LI \. \. ~:, \. .;‘ \. \. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 3h. 35. 36. 3?. 38. 39. MO. #1. #2. Music for Orchestra, Op. 50, meas. 226-27. Variations for Piano and Orchestra, Op. lZ-tone row . meas. meas. meas. meas. meas. meas. meas. meas. meas. meas. meas. meas. meas. meas. meas. meas. meas. meas. meas. meas. 11-15. . . . . . 25-29. . ... . . 142-48 (strings) 202-05 . . . . . , meas. 253-55 (brasses) . , tranSposed brass chord from measure 253 . , meas. 205-06 0 e e e e o o e 0 <4 51-54 (trumpet & woodwinds). 190-93 a e e e a 128-29 (piano) . 3711-77 a e e e 0 122-24 (horns & woodwinds) 223-25 (clarinets & trumpets). 380-82 . . . . . 308-11 . . . . . 101 (strings). . 392-93 . . . . . 117-19 . . . . . 260-66 (trumpets 273-75 . . . . . 408-09 (piano) . 291 (brasses). . 005-06 (woodwinds) vii woodwinds). PAGE 22 22 23 2h 27 28 29 30 3O 32 32 33 33 3h 35 36 37 37 38 38 39 39 no no in Variations meas.‘ Dance 3hr” crass! 43. an. 45, 46. 47. 48. 49. 50. 51. 52. 53. 54. 55. 56. 57. 58. 59. 60. 61. 62. 63. 64. 65. 66. 67. Variations for Piano and Orchestra, Op. 54, 131-32: a o o e a e o 0 av meas. Dance Rhythms, Op. 58, meas. 7-11 (woodwinds meas. meas. 290-91 e e e e e o e e o “12.1“ o o o e o O brasses). . . . . . . . . . . . Sypphogy No. 4, Op. 63, Mvt. I, meas. 9 meas. 42-46 (brasses). . meas. 103-05 0 o o o o o o meaS. 1.5. e e e e e e e o meas. 134-38 (strings) . . frequent seventh and ninth meas. meas. meas. meas. meas. meas. meas. meas. Mvt. Mvt. Mvt. Mvt. Mvt. Mvt. Mvt. 21 (woodwinds) . . 53-54. . . . . . . 83-85 (strings). . 52 (woodwinds) . . 81-82. ... . . . . 34-35 (woodwinds). 100-01 . . . . . . 105. . . . . . . . I, meas. 15-190 0 o I, meas. 68-71. . . II, meas. 7-8 e e 0 II, meas. 99-100. . chords. III, meas. 1-5 (woodwinds). III. meas. 17u-78 e e e e 0 III, meas. 339-43 (brasses) viii PAGE 42 43 no 46 a7 47 as 49 50 51 52 52 53 53 5o 54 55 56 57 57 58 58 59 60 6o Mvt. Mvt. "._______, hvt. "._______. Mvt. 1'..._____, Mvt. ' -_______. Mvt. V. \. "Vt . " \. hvt, i'--—_._. Mvt. F“--—.__. Mvt. 3“‘-—._.. Mvt '1 \. Mvt. v \. ht :"“--... Mvt; “"~‘~“‘. Hvt Chord) :““-—.: Hvt :““‘-..» Kvt; ;““-~.» Mvt gl““-.- Hvt \“*-... Xvi; 01353“) \t “Vt 68. 69. 7o. 71. 72. 73. 74. 75. 76. 77. 78. 79. 80. 81. 82. 83. 84. 85. 86. 87. 88. 89. 9o. 91. 92. §ZEEEEBY_§22_fln 0P. 63. Mvt. II, meas. Mvt. Mvt. Mvt. Mvt. Mvt. Mvt. Mvt. Mvt. Mvt. Mvt. Mvt. Mvt. Mvt. Mvt. Mvt. Mvt. , Mvt. Mvt. Mvt. Mvt. Mvt. Mvt. I, meas. 117-20 (woodwinds A II, meas. 25-30. 99-102-0-eoe-eoe-e ”Vt. III. meas. 131-1180 0 e e e 0 III, meas. 41-42 (woodwinds) I, meas. 169-70 (brasses). . III. meas. 213-19. 0 o 0 III, meas. 304-12. . II, meas. 99-102 . . I! meaS. 371-72. 0 o I, meas. 375-77. . III, meas. 225-280 0 e e I, meas. 160-62 (strings). I. meaB. 108-09. 0 e e e 0 III. meas. 365-72. . . . . III. meas. 1u5-u80 o o e o e 0 III, meas. 114-17 (woodwinds). II. meas. 43"“?0 e e e e e o 0 155-570 0 e e e e III,Nmeas. III, meas. III, meas. ,156 (transposed 32-35 0 e e e o e I, meas. 280-81 (woodwinds). II. meas. 13'1“. 0 o o e e e 1! meas. 356-590 0 e e e o o brasses) e e o e o o e e e e e e e o e e ix , Mvt. III, meas. 55-58 . . . . . . PAGE 61- 62 63 64 64 65 66 67 68 69 7o 70 71 72 72 73 74 75 75 76 76 77 78 79 :4 2,1 ;'| I imohonv its *’ *’ m. Variations “—— meas. K. 93. 94. 95. 96. 97. 9a. 99. 100. 101. 102. 103. 104. 105. 106. 107. 108. 109. 110. 111. 112. 113. 114. 115. 116. 117. Symphony No. 4, Op. 63, Mvt. I, meas. 193-97. Variations for Violin and Orchestra, Op. meas. 101-02 (woodwinds, O meas. meas. 110-11. . 66‘70 o o 12-tone row . . meas. meas. meas. meas. meas. meas. meas. meas. meas. meas. meas. 386-90. . 348-51. . 78-81 . . 319-22. . 59-64 . . 134-35. . 80-84 . . 130-31. . 266-71. . 283-86. . 143-45. . harp.chords . . meas. meas. MCBS. meas. meas. 141-42 0 o 223 . . . , Mvt. I, meas. 296-300 . , Mvt. III, meas. 325-28. , Mvt. III, meas. 59-62 . . . . . . 71. Solo & strings) 236-370 0 o e e 110 (woodwinds) 57-610.... PAGE 80 81 81 82 85 86 86 87 88 89 89 9o 90 91 92 92 93 94 97 98 98 99 100 100 101 —I Variatior‘ 50.0 .... 118, 119.1 120. 121. 122. 123. 124. 125. 126. 127. 128. 129. 130. 131. 132. 133. 134. 135. 136. 137. 138. 139- 140. Variations for Violin, meas. 103-O4 (woodwinds 36107 . . . . . . . . . . . . . . . . . , meas. 239-40 . . . . . . . . . . g_, meas. 383-85 . . . . . . . . . . 387-90 . . . . . . . . . . , meas. 391-94 violins & violas) . . . . . . . . . . . , meas. 192’95 o o e e e e e e e e , meas. 224-25 , meas. , meas. 105-07 (Solo & strings). . , meas. 134-36 . . . . . . . . . . . meaS. 138-39 0 o e e e o e e e e Music for Orchestra, meas. 263-66 (woodwinds, rasses & violins). . . . . . . . . . . Symphony_No.4, Mvt. II, meas. 172-75. . . . (woodwinds, brasses, (woodwinds & brasses) Variations for Violin, meas. 395-400 (brasses, perc., strings & Solo). . . . . . . . . W. Mvt. II. meas. 57-59 . . . . , Mvt. III, meas. 73-75 (strings). Variations for Piano, meas. 75-76 (woodwinds, piano & strings . . . . . . . . . . . . Sypphogy No, 4, Mvt. I, meas. 403-07 . . . . variations for Violin, meas. 61-65 . . . . . Variations for Piano, meas. 39-40. . . . . . gpgic for Orchestra, meas. 17-19 . . . . . . Variations for Violin, meas. 100-02 (Solo & 8tr1n88 e o e o e e 0 e e e o e e o o e , meas. 141-42 (contrabassoon & Solo). Symphopy No. 4, Mvt. III, meas. 773-75 . . . . . xi PAGE 101 102 103 103 104 105 106 107 108 109 111 112 113 114 115 116 117 117 118 119 120 121 122 Dance Rh?“ V IIIILEH VariatioN N; /////// Sway-hop f Erlatioh ‘- /“ I"vlSic 70.. ///' variatIOr ’/ vmhLOh Va (1 a A rlat10v <1 ID "I H ID ‘ ('1’ M in O '4 . O '1 In 141. 142. 143. 144. 145. 146. 147. 148. 149. 150. 151. 152. 153. 154. 155. 156. 157. 158. 159. 160. 161. 162. 163. 164. 165. 166. Dance Rlllthms, meas. 92-93 0 o o e o , meas. 144-47 (strings) . , meas. 138-39 (strings) . . Music for Orchestra, fugue subject . . 11188.8 . meas . 11168.8 . meas . meas . 43-45 (woodwinds). 55-56 (woodwinds & 107-09 111-13 231-33 Variations for Piano, fugue subject. meas . meas 0 mass . 11188.8 . H1888 . meas . meas . 373-74 390-91 392-94 397-99 402-04 407-09 412-14 (bassoons & (strings) . (piano) . . Symphopy No. 4, Mvt. I, meas. 66-71. Variations for Violin, meas. 66-70 . Music for Orchestra, meas. 238-40. . horns). Variations for Violin, meas. 275-79. . . . . , meas. 228-30 (woodwinds & brasses) , meas. 170-74 (woodwinds) . . . . . Sypphopy No. 4, Mvt. I, meas. 100-03 . . . . . Variations for Violin, meas. 130-31. . . . . . Variations for Piano, meas. 140-41 (woodwinds, brasses & piano). . . . . . . . . . . . . xii PAGE 124 12 5 125 127 128 128 130 131 132 133 133 134 135 135 136 136 137 137 138 139 140 141 142 143 144 145 IP74 "ariatio.l d 1 rash Rhy‘ Dance . for Music . ‘ion Varies. *- Q712110311 . f10h: Varia. \ DIS: 3 "he u. 3AM 167. 168. 169. 170. 171. 172. 173. 174. 175. 176. 177. 178. 179. 180. 181. 182. 183. 184. 185. 186. 187. 188. 189. 190. Variations for Piano, meas. 99-100 (woodwinds, brasses & piano). . . . . . . . . . . . . Dance Rhythms, meas. 38-41 (marimba & strings) Music for Orchestra, meas. 181-82 (woodwinds), Variations for Violin, meas. 78-81 . . . . . . Symphony No. 4, Mvt. I, meas. 32-36. . . . . . Variations for Piano, meas. 47-50. . . . . . . Symphony No. 4, Mvt. II, meas. 25-29 . . . . . ygpgations for Piano, meas. 1-7. . . . . . . . , meas. 250-53 0 e e o e e e o o e e .m6380259-6Zeeeeeeoeeee D nce Rh thms, meas. 85-88 (strings, woodwinds brasses). . . . . . . . . . . . . . . . . Variations for Violin, meas. 1-6 . . . . . . . Symphony No. 4, Mvt. III, meas. 122-30 . . . . Variations for Piano, meas. 307-11 . . . . . . Music for Orchestra, meas. 206-08. . . . . . . Dance Rhythms, meas. 12-15 . . . . . . . . . . Symphopy No. 4, Mvt. III, meas. 174-81 . . . . , Mvt. III, meas. 213-19 . . . . . . Variations for Violin, meas. 246-48. . . . . . Dance prthms, meas. 36-40 (strings) . . . . . Music for Orchestra, meas. 187-90 (strings, contrabassoon, brasses & perc.) . . . . . Variations for Piano, meas. 287-88 (woodwinds, brasses, timpani & piano) . . . . . . . . Music for Orchestra, meas. 90-93 (woodwinds) . Sypphony No. 4, Mvt. I, meas. 190-92 (brasses) xiii PAGE 146 147 147 148 149 150 151 152 153 153 154 155 155 156 157 158 158 159 159 160 161 162 163 163 i.- :- i'ariations for [”3 (b h. hi \’ "' 'Jariatiors for N .\, me \I If“. 191. 192. 193. 194. 195. 196. 197. 198. 199. 200. 201. 202. 203. 204. 205. 206. 207. 208. 209. 210. 211. 212. 213. 214. 215. SZEEhozu NO. 1", “Vt. II, meas. 48.52 e e e e o e , Mvt. II, meas. 100-04 (strings). . . (pianO) . . . 135-36 (pianO) . . . . . . . . 273-75 (plane) 418-19 (piano) . . . . . . . . Variations for Piano, meas. 343-47 , meas. , meas. , meas. , meas. 82-830 e o e e e e o e o o e o Variations for Violin, meas. 74-78 . . . . . . . , meas. 299-304 (Solo & violins) . . . , meas. 156-59 (harp & Solo) . . . . . , meas. 119-20 0 o e e o e e e o e e e ,meas.348-51............ "~.‘ Variations for Violin, meas. 113-16 (woodwinds). Sypphopy No. 4, Mvt. I, meas. 211-16 (strings & WOOdW1n 8) o e e e a o e o e o o o o o e o o , MVto II. meas. 137-1110 0 e e e e o 0 273-77 0 e o e e e e 0 Variations for Violin, meas. 66-70 (oboes & bassoons71 . . . . . . . . . . . . . . . . . , Mvt. I, meas. Variations for Piano, meas. 307-11 (woodwinds) . Music for Orchestra, meas. 20-24 (woodwinds) . . Variations for Piano, meas. 35-36 (woodwinds). . ‘ , meas. 52-54 (woodwinds & trumpet). . Dance Rhythms, meas. 55-57 . . . . . . . . . . . Music for Orchestra, meas. 133-36 (horn) . . . . xiv , meas. 134-35 (contrabassoon & Solo).l PAGE 164 164 165 166 166 167 167 168 168 169 169 169 170 170 170 171 171 172 172 173 173 173 174 174 175 tru: V riat101 Variatic 3 mnho.’ -‘ ’ .0“. e,- M‘ LL‘J. 216. 217. 218. 219. 220. 221. 222. 223. 224. 225. 226. 227. 228. 229. 230. 231. 232. 233. 234. 235. 236. 237. 238. 239. Variations for Violin, meas. 138-39 (tuba & Solo) Symphopy No. 4, Mvt. III, meas. 194-97 . . . . . Variations for Piano, meas. 264-67 (woodwinds & trumpets) . . . . . . . . . . . . . . . . . Music for Orchestra, meas. 62-63 . . . . . . . . Variations for Piano, meas. 188-92 . . . . . . . Variations for Violin, meas. 251-55. . . . . . . Music for Orchestra, meas. 238-40 (double basses) Symphony No. 4, Mvt. III, meas. 758-61 (violins) Dance Rhythms, meas. 100-03. . . . . . . . . . . . meas. 911-98 (harp) o e e e e e e e e ,measelz‘l6eeoeeeoeeeooo Symphony No. 4, Mvt. I, meas. 267-72 (strings & impan C O O O O O O O O O O C O O O O O O . MVt. I. meas. 110-13 0 e o o o e e o Mppéc for Orchestra, meas. 7-10. . . . . . . . . Dance Rhythms, meas. 47-50 . , . . . . . . . . . Variations for Violin, meas. 143-45. . . . . . . Variations for gigpp, meas. 120-21 . . . . . . . , 1088.3. 370-72 0 O o o e e e e e e o o Music for Orchestra, meas. 249-51. . . . . . . . Dance prthms, meas. 18-22 . . . . . . . . . . . szEEhozu NO, 4. MVto II, meas. 511-58 0 0 o e o e , MVte III, meas. 393-1100. 0 o o e e o Variations for Piano, meas. 397-99 . . . . . . . Symphopy No. 4, Mvt. III, meas. 742-46 . . . . . XV PAGE 175 175 176 176 177 177 177 177 178 178 179 179 184 185 186 187 188 188 190 191 192 192 193 194 39:, Varies-€10? 3.1, Variatioz 212. Music {0 2.3, Symphony 244. Veriatic 501 3: Q "'th V 5Y1. I.J'¢..:.‘..-.-Y...~ SL1 {1’ we, - ‘. .0 SE C] 29. \ 7m ‘99. NUS . ‘1; 251 \ 232. 240. 241. 242. 243, 244. 245. 246. 247. 248. 249. 250. 251. 252. 253. 254. 255. 256. 257. 258. 259. 260. 261. 262. Variations for Violin, meas. 228-29. . . . . . Variations for Piano, meas. 450-53 . . . . . . Mppig for Orchestra, meas. 35-36 . . . . . . . Symphopy No. 4, Mvt. I, meas. 262-63 . . . . . Variations for Violin, meas. 391-94 (woodwinds, so 0 & StrinEST O O O O O O O O O O O I O Symphopy No, 4, Mvt. I, meas. 104-07 (woodwinds & Strings O C O C O O O C C O O O O O O O O O O , Mvt. I, meas. 286-88 . . meas. 120-22 (woodwinds, brasses & W. Strings 0 O C O O O O O O O O C O O O O I S m ho No. 4, Mvt. II, meas. 106-10 (bassoons, Brasses & stringS). . . . . . . . . . . . . . . "Vt. III, meas. 225-28 0 e e o o o Music for Orchestra, meas. 46-48 . . . . . . . , meas. 118-21 (woodwinds) . . . . . variations for Piano, meas. 79 (woodwinds) . . Sypphopy No. 4, Mvt. III, meas. 295-301. . . . variations for P1329, meas. 385-87 (woodwinds) Mppic for Orchestra, meas. 52-54 (horns) . . . Variations for Piano, meas. 410 (horns). . . . Music for Orchestra, meas. 195-96 (brasses). . . meas. 172-76 0 o e o o o o e o o e .meaS.128-BOeeeeeeoeeee Sypphopy No. 4, Mvt. III, meas. 50 (brasses) . Dance R thms, meas. 120-22 (woodwinds & brasses O O 0 O O O l O I O O O O O O O 0 Music for Orchestra, meas. 204-06. . . . . . . xvi PAGE -195 198 199 200 201 202 203 204 205 206 206 207 207 208 208 209 209 210 211 211 212 213 214 ‘Jariatio: bras 263. 264. 265. 266. 267. 268. 269. 270. 271. 272. 273. 274. 275. 276. 277. 278. 279. 280. Music for Orchestra, 17-19 . . . . . . . . Szgghogz No. 4, Mvt. , Mvt. II, meas. 31-35 (woodwinds & brasses). . . . . . . . . . . . . . . . 11168.8 . III, meas. 764-66 0 o o o o 219-20. 0 o o o o o 0 Music for Orchestra, meas. Variations for Piano, meas. 424-26 (woodwinds & rasses). . . . . . . . . . . . . . . . . . §lmphony No._4, Mvt. III, meas. 650-51 . . . . . , MVt. I, meas. 115-20 0 o o o o o o o Variations for Violin, meas. 17-18 . . . . . . . S m ho N0. 4. Mvt. III, meas. 2u7-55 . Mvt. II, meas. 58-59 . . . . . . . . , MVto II, meas. 115-180 0 o o o o o o Variations for Piano, meas. 269-70 . . . . . . . Music for Orchestra, meas. 64-66 (brasses & viola) Szmghogz No. 4, Mvt. I, meas. 75-79. . . . . . . Dance flflzthms. meas. 91-93 0 o o o o o o o o o 0 Variations for Piano, meas. 410-12 (piccolo, horns & xylophone). . . . . . . . . . . . . S m ho No 4, Mvt. III, meas. 764-66 (woodwinds, xylophone & strinSS). . . . . . . . . . . . . Dance flhlthms, meas. 112-130 0 o o o o o o o o o o xvii PAGE 215 216 217 217 218 219 220 221 222 223 224 225 226 227 229 230 231 232 waninafor Ini died in 196 early M11! 11 expected influe Hiegger's or lusical Art ccuposition. E the instruction 1907, he want t inch and Edga The effec 15 perhaps bes limit to hum tFadition, so Scriabin'a 131:2 Rather as did I Sickousn gave Rieeaer be The following 5 Gran 98m in Er INTRODUCTION Wallingford Riegger was born in Albany, Georgia in 1885 and died in 1961. The nineteenth century atmosphere of his early family life and of his musical training, had the eXpected influence on his first compositions. Riegger's formal musical training began at the Institute of Musical Art in New York, where he studied the cello and composition. His first experiences in composition were under the instruction of Percy Goetschius. Upon graduation in 1907, he went to Berlin to continue his studies with Max Bruch and Edgar Stillman-Kelley at the High School for Music.1 The effect of this training on Riegger's musical outlook is perhaps best described in his own.words. "I blushingly admit to having upheld at that time the good old academic tradition, so much so that at the first Berlin performance of Scriabin's Poems de l'Extase I hissed exactly in the same manner as did the Piladelphia boxholders 20 years later when Stokowski gave my own Study in Sonoritz."2 Biegger began a career as a conductor during the 1915-16 season, when he conducted Operas at Wfirzburg and K3nigsberg. The following season, 1916-17, he conducted the Blfithner Orchestra in Berlin. With the outbreak of World War I, he M 1. Eric Blom,(ed.. Grove's Dictiona of Music and usicians, 5th ed. New York: St. MartinEs Press, Inc., 1962), V01. VII. p. 162. 2. Richard F. Goldman, "The Music of Wallingford Riegger," Musical Quarterly 36 (Jan., 1950): 42. 1 was for El ob ‘ 59 once haw". A“. *O ‘ ;-a:o , ZCESEI'V was forced to return to the United States.3 Riegger began composing upon his return to this country. He once wrote of these years, ”My advent as a composer could hardly be described as meteoric."1+ His Trio in B Minor for piano, violin and cello, in the late romantic idiom, won the conservative Paderewski Prize in 1921. This encouraged him to continue his work, resulting in another prize, the Elizabeth Sprague Coolidge Prize for Chamber Music, in 1924. He earned his livelihood during these years by teaching cello and theory at Drake University. This part of his career was followed by a position at the Institute of Musical Arts where he taught composition.5 Modern dance attracted Riegger, especially during the years 1933-41. He wrote a great deal of music for such dancers as Tamaris, Martha Graham and Charles Wiedman. } This interest led to his acceptance of the directorship of the Federal Theatre Project for a short time in 1933.6 Throughout his career, Riegger supplemented his income with the sale of hundreds of choral arrangements of music by a wide variety of composers. Since he was not especially proud of this activity, it was carried out under pseudonyms. Nine 3. Blom, 32. 213.. p. 162. 4. Goldman. gp. 212,. p. 40. 5. Blom, 22, 213.. p. 162. 6. Goldman. 92. g;§.. p. 51. :irrerent i armngemeni ma? Hieggt filament a} adsical in: the Therem: :his insm auteur na‘ 50333. and included SE Richai “I! in a m its invent: ”techniques The de 1Mn "0 in hm” hm :WDOSBI‘B . “”138 as ’v Fe ”19' I IR: 9. Lb 10 different publishers at one time or another issued these arrangements, for each of which Riegger used a different name.7 Riegger's side interests, pursued for his own enter- tainment and enjoyment, included a study of electric musical instruments. He became especially interested in the Theremin, and learned to play a cello-like version of this instrument.8 Also, he apparently was something of an amateur naturalist. He made a hobby of collecting bird songs, and his notated collection is reported to have included several hundred different calls.9 Richard F. Goldman describes Riegger as ". . . a quiet man in a noisy world." His musical style reflects this in its inventiveness and discipline, and in the absence of techniques used for their shock value.10 The development of Riegger's later style hinged largely upon two important elements in his career. First, he became involved with the Pan-American Association of Composers, and met such men of the "modern movement" in America as Ives, Ruggles, Varese and Cowell. The second 7. Robert Sabin, ed.. Thom son's Internat onal c clc ed a of Music and Musicians (New York: Dcdd, Mead and Co.. 196%). p. 1798. 8. Percy Scholes, ed.. The Oxford Com n on to Mus c (New York: Oxford University Press, 1935). p. 882. 9. Ibid.. p. 110. 10. Goldman, 22, cit.. p. 39. elezent wrote, ballet, patroni and an 1 element; Spectiw 814 study 0: persons: techniql contrapx n: fore 31968” elements ”suit, ends in a?! so 1 the list or the a The c0“New 4 element was the modern dance movement, of which Riegger wrote, "I had not been impressed with the prettiness of the ballet, so alien to the American scene, but so generously patronized. The modern.dance, being vital and expressive-- and an American product--fascinated me."11 These two elements served to turn Biegger's music from its retro- spective German romanticism. Riegger combined this changed outlook with an extensive study of Schoenberg's works, and finally arrived at a personal and independent manner of using the lZ-tone technique. His approach included the expected fondness for ccntrapuntal devices, but also a rhythmic conception which was foreign to Schoenberg and all of the European serialists.12 Riegger managed to integrate the atcnal and dissonant elements with the traditional features of his music. As a result, atonaiity and dissonance do not emerge auraily as ends in themselves. The themes, rhythms and formal schemes are so important to the music and so directly presented that the listener is attracted to them rather than the dissonance of the atonal ccnstruction.13 These techniques were foreshadowed in.Dichotq!y, a work composed in 1931-32, where he used two different rows. The 11. Uilfred Mellers, usic in a New Found Land (New York: Alfred A. KnOpf, 1965 . p. 2 . 12. Blom, 22. cit.. p. 162. 13. William B. Ward, Exam les for the Stud cf Musi 1 Style (New York: Hm. C. Brown Co.. 1970), p. 437. first I85 15, ten 6 pointed c 'mulati later at} leaping t below, ir. The his :2: "The enor- its good Sonstruct. "Ceived : Success (3‘ Perfomam 78813.10 The 5 5”“ limit The 15 I... . a “\968 16 first was an li-tone row, and the second had 13 tones; that is, ten different and three recurring tones. Riegger pointed out a technique in this work which he called "cumulative sequence,” that was also to become part of his later style. ". . . This is the old Three Blind Mice idea, keeping the original motive and adding a sequence, above or below, instead of moving the motive itself."14 The most successful of Hiegger's orchestral works was his Sygphogy No. 2. Concerning this, Henry Cowell wrote, "The enormous success of his third symphony was not due to its good construction, but to the fact that this well constructed work had wide emotional appeal."15 The work received the New York Critics Circle Award in 1948, but the success Cowell spoke of seems to have been short-lived. Performances of the work have been few in recent years.16 The selection of Hiegger's music for this analysis has been limited to these orchestral works: Music for Orchestra, Op. 50 (1950) Variat ons for Piano and Orchestra, Op. 54 (1952-53) Dance H thms, Op. 15 Sygpho 4. 0P. 63 (1957) Variations o?or Violin and Orchestyg, Op. 71 (1959) These particular works were chosen because they are 14. Gilbert Chase, America's usic from the P 1 ins to the Present (New York: McGraw-Hill, 1955). pp. 608-09. 15. Henry Cowell, "Uallingfcrd Riegger, " Musical America 68 (Dec. 1,1948), p. 29. 16. Goldman, 22, g;§.. p. 40. were thf acclaim 0931-32 The by them 1930 m Snell's kerica entitled ”Compile. ESpecml; 55d Berle 'Titings 3°: this This :59 first Elements ‘ are ““1381 tech“lilies elelEats 1 :the Mn :faracteri: it appears meme 0t representative of the last decade of Hiegger's career, and were therefore conceived after the appearance of his more acclaimed works, such as Study in Sonority (1927), Dichotogy (1931-32), and Sypphopy No, 2 (1948). The music of Riegger has not been extensively examined by theorists and musicologists. The article in the January, 1950 Musical Quarterly by Richard F. Goldman, and Henry Cowell's article in the December 1, 1948 issue of Musical America are important contributions. A doctoral dissertation entitled, An.Analytical Study of the Principle Instrumental Compositions of Hallipgford Riegger, by J. B. Schmcll, was submitted at Northwestern University in 1954. This study encompasses a large number of works through 1949, and is especially informative concerning the melodic characteristics and serial practices in Riegger's music. None of these writings deals with the works after 1949, the works chosen for this study. This study has been divided into four major sections. The first of these, Chapters I through IV, deals with specific elements of each individual work, and the remaining three are comparative examinations of cadences, textures and techniques of orchestration. The isolation of the musical elements is necessary for the.purposes of analysis. This is done with the full realization that the significance of any characteristic, technique or procedure is revealed only when it appears in its entire musical context. Schoenberg's comments on composition include these remarks: "Thong egpear sepe they reveai co-operatic express a 1 lords. 112 11151681 ape functions 1 all other e irdluence t has: of the f sexing of any < fizazerous, te .-.,_ 73-5133. ihene “1533'? ent‘ "Though the elements of these (musical) ideas appear separate and independent to the eye and ear, they reveal their true meaning only through their co-operation, even as no single word alone can express a thought without relationships to other words. All that happens at any point of this musical space has more than local effect. It functions not only in its own plane, but also in all other directions and planes, 39d is not without influence even at remote points." Because of the importance of the musical context to the meaning of any of its elements, the examples in this study are numerous, to illustrate the same element in different contexts. Whenever possible, the examples are complete, showing the entire orchestration at that moment in the music. l7. Josef Hufer, Com osition with Twelve Notes Related Only to One Another, trans. Humphrey Searle (New York: Macmillian Co.. 1954), p. 49. 'etmiit: thrcighou‘. tcnality,‘ :h fact 1 utter. 1 center to relations} fiTSt $.70} reliltions] minim: CHAPTER I MUSIC FOR ORCHESTRA, OP. 50 Mppicfor Orchestra is an atonal work. The term "atonality" has been used several times and will be used throughout this paper. The literal definition, "without tonality," needs to be further clarified with recognition of the fact that the perception of tonality is a subjective matter. Almost any combination of tones suggests a tonal center to some, while others need to hear traditional tonal relationships before they perceive a tonal center. To this first group, atonality is an expansion of traditional tonal relationships, but to the second group, it is an absence of traditional relationships.18 The term is used in this paper in reference to "music which is not clearly organized by traditional systems, such as the modal system, or the major or minor key systems. . ."19 Eppp. This is a revision of an earlier work, Consummation, Op. 31, but retains the original fugue. This fugue will be analyzed and discussed in a later section dealing with ccntrapuntal textures. The tone row on which Riegger based this work is, of course, the important structural element. The composer used 18. Leon Dallin, Techni ues of 20th Centur Com osition (Dubuque, Iowa: Wm. C. Brown Co.. 1964), p. 44. 19. Reginald S. Brindle, Serial Composition (London: Oxford University Press, 1966). p. 11. 8 the row 1 or any of conjunct :r.e inii‘ The seconds, 511th. a: Ex. 1. Music for Orchestra, lZ-tone row. 0028456739I0llll n Ir the row in Example 1 with only a rare octave displacement of any of its members. This makes for a predominantly conjunct melodic motion throughout the work in the parts of the individual instruments. The melodic intervals of this row, six major and minor seconds, three major thirds, one minor third and a minor sixth, are arranged so as to avoid tonal regions. The only triad outlined is an augmented chord consisting of numbers 5 through 7. A major seventh chord is implied by numbers 6 through 8, but it is in third inversion and incomplete. A row such as this may be described as an "atonal series" since it maintains the same degree of atonality throughout, with no harmonic implications which establish tonal regions.20 All four versions of the row are used in this work, as well as many transpositions of each version. Except for a few notable instances, the statements of the row are incomplete. This is due to the fact that each melodic pharse usually begins with a new statement of the row without regard for where the preceding phrase ended in the series. The deployment of the row occurs in a variety of ways. The opening measures of the work present the original version shared by a flute and English horn in a two-part ccntrapuntal 20. Ibid., p. 11. texture 1&3: 43? frame 51$. z a m 3 w... mm. .M asi ,’ y- t“ f 10 texture. This has been described as the "horizontal- vertical method" of tone row deployment.21 Ex. 2. Music for Orchestra, meas. 1-6. Andante (J =60) I. am: 1 mm 3 (or Piccolo) one Q Emlia'efflom In a similar manner, the row members missing from the oboe line in Example 3 are supplied by the brass chords. Ex. 3. Music for Orchestra, meas. 20-22. Another way in which the row is presented involves melodic 21. Ibid.. p. 50. -t Lin: 2 _ L. .ele. - (if. e . l .121 .J-..tl-.t.s.+~ If! I d 3...: Ma: Mu . .I II I... ||.-. - AIL I SJ '1 ~ Ir .2‘ 1 L1 Im'ltl.l H II . * 0 aa a - r a». a. ”(M o .D a m; V W V V. 8 emu. L h h v.» LL 9— A 5' rld n -L .5 11 doubling. Ex. 4. Music for Orchestra, meas. 247-48. In this case, the retrograde-inversion form of the row and ”Vet: transpositions are used simultaneously in the brasses. This is in strings, a in in: the tempos IIcells" of rhythmic 1: 33th. 9X4 the kite. 0f theSe ‘Qrk' 12 This is in counterpoint with the original form in the strings, also doubled by seven transpositions. An important factor in this work is the way in which the composer made use of certain three-note fragments or "cells" of the row. These fragments often appear with the rhythmic motive of the fugue subject. Ex. 5. Music for Orchestra, prominent row fragments. O IO N ’2 RI ET“ 1 IO R Each, except for the last example, contains a combination of the intervals of a second and a third. The consistent use of these intervals becomes a characteristic of the entire work. The fragments are found in succession as in Example 6. Ex. 6. Music for Orchestra, meas. 172-73. the frag mifying 3 “iii. 9 $3.... ‘1 as? \i g 'Tas cm PM ‘44 n "‘ rhye 1: . .oduc Meate 5;. 13 The fragments are also found as conjunct units, and as unifying motives within phrases as in Example 7. Ex. 7. Music for Orchestra. meas. 77-78. In contrast to the extended passages in which these row fragments are used, are passages in which the complete row is stated. In measures 245 to 266, the following versions of the row appear in the strings in this order: original, inversion, retrograde-inversion, retrograde, and inversion. Beginning a measure later in this ccntrapuntal passage, the brasses present these complete versions: retrograde-inversion, retrograde, and original. These are all disjunct statements, with one exception occurring in measure 250 in the strings. At this point, the last note of the inverted row serves also as the first note of the retrograde-inverted row. Rhythm. One motive and a derivative submotive dominate the rhythm of this whole work: .53? I .b . This pattern is introduced in the first two measures of the piece and permeates the rest of the work. The submotive in its various appearances, a”) , a") , sh.) is employed in the fugue theme. The charges eost cues indicate seasures The 2 “I point i: and t xterm; between simple a m 3‘ T 64 5“. :I'IK‘ 3' ‘,‘." ‘ " 'J (1133\a 6‘) Ii: is: :51; 44L l 14 The tempo ranges from 60 to 100 beats per minute, and changes within this rather limited range occur suddenly in most cases. Only a few accelerandos and ritards are indicated, and these occur in the space of one or two measures. The meter of Mpgig for Orchestra alternates between a and i, the changes often occurring between phrases. At one point in the work, this duple and triple alternation is interrupted by the introduction of a passage which alternates between 3 and 3. One other passage is notable in that duple- simple and compound times are used simultaneously. Ex. 8. Music for Orchestra, meas. 213-15. Vln. l Vln. 2 VIC. Vol. Harmonic Structures. Melodic doubling which results in parallel streams of intervals and chords is of prime importance to the harmony of Music for Orchestra. In addition to parallel streams of intervals and tone clusters, various tertian and quartal structures are used with this technique. w] is ver first oboe a hassoo differ [‘J I‘ll 1——- .— “ H} . ‘ h . v 'I. ' '51 9“. t’ N: ("HRH "’1‘ PW. \g, e) ‘ e 6:" x (i, a 'I.’ 1 i) s ‘ N .' in I: It 2 i s e. aé§E l. w. 5‘1 r [$1 i- M301, 8510 15 The interval of melodic doubling between two instruments is very frequently that of the tritone. In Example 9, the first flute and oboe are paired with the second flute and oboe at the interval of a tritone. The clarinets and bassoons are simultaneously paired in the same manner on a different melodic line. Ex. 9. Music for Orchestra. meas. 138-40. A major second is the interval of the doubling between solo cellos II and III in Example 10 where the doubled line is one part of a three-part ccntrapuntal texture. [11 No st: trapet are ac; Viewed I 33131 e: E1, 16 Ex. 10. Music for Orchestra. meas. 147-49, Two streams of major seconds occur simultaneously in the trumpets and trombones in Example 11. The two doubled lines are separated by a major sixth. The resulting chord might be viewed as an implied ninth chord with an added note, but the aural effect does not seem to justify this analysis. Ex. 11. Music for Orchestra, meas. 64-66. However, in the similar situation in Example 12, parallel augmented ninth chords are strongly implied by the two streams F: are... Hi .. c1 - We Raw 8 Hm G. A “w -l e .n r . p 2..-. R T are. r 0 m Ru Ir. a . Maui - l. . . .0: R o "I! w u lit.-. 2-}. S . 2 P N l t .. . a... s... e m n e... n m p e a. u ..... w. 1? streams of major thirds in the brasses. Ex. 12. Music for Orchestra, meas. 20-22. l. ob. Tpf. ‘3’ Thu. The tertian structures used in parallel streams include all of the possibilities from triads to thirteenth chords. Very frequently, these chords are incomplete or contain added notes. An example of such an implied chord may be seen in measure 43 in the woodwinds. The chord in this case is a Ex. 13. Music for Orchestra, meas. 43-44. Fl. 0b. Clot. 8' Vln. I Vln.2 Vcl. isinisi third or strings inversie is compi Ex 2 6"] -'l— eyed—4..“ My MW M -I‘T 18 diminished-minor seventh chord in third inversion with the third omitted. The structure used in parallelism in the strings is a complete diminished-minor seventh chord in third inversion. The ninth chord in first inversion in Example 14 is complete and contains an added sixth. Ex. 14. Music for Orchestra, meas. 95-97. Tots. Tons. Parallel eleventh chords are found in the strings in measures 118-19. These augmented eleventh chords are used with a melodic line doubled in unison by the first trumpet and oboe, and with trumpets, oboe and bassoon doubling another line in tritones. EX. 19 Ex. 15. Music for Orchestra. meas. 118-19. The melod‘. results i: and an ad: 2:: g. (A... Jan _ r.._.\ a is. x ,, it... u "v:< he. - 20 The melodic doubling in the woodwind passage in measure 10? results in a diatonic thirteenth chord with the fifth omitted and an added minor ninth (or augmented octave). Ex. 16. upsic for Orchestra. meas. 107-08. Fl. E.H. Clcr. Th include uoodwi: r\s .- —. /W"_.M"'°(5"-- case; em. 0,8 '. ewe. “f1 88’ S? ”M 21 The non-tertian structures used in parallel streams include quartal chords such as seen in Example 17 in the woodwinds. Ex. 17. Music for Orchestra, meas. 58-59. In measures 225-26, the quartal stream in the woodwinds is used against a stream of augmented eleventh chords in the strings. The eleventh chord used here is implied by only the root, third, ninth and augmented eleventh. in? 1.3.... ..t--..zm..:.. u. u . .7 - 5.. m: w. “nu flzvnftfir £763... A. M ,-2 my. ‘1 22 Music for Orchestra, meas. 226-27. Ex. 18. P 3 The contain added notes. similar to that seen in Example 19 result. parallel quartal structures used in this work often When enough notes are added, structures Music for Orchestra, meas. 253-55. Ex. 19. One of 1 4 series . 81. from mes Stream 1 the am chord is adidim are aide All examPlea Fro. the appear 1 Infect eonsiste 23 One of the brass chords, transposed, from the parallel series in Example 19 is shown in Example 20. This quartal Ex. 20. Music for Orchestra, transposed brass chord from measure 253. stream is used in counterpoint with an eleventh chord in the strings and a woodwind melody. The parallel string chord is a diminished seventh chord plus a minor ninth and a diminished eleventh. A major seventh and augmented fifth are added to the soncrity. All of the quartal structures shown in the preceding examples have been composed of perfect and augmented fourths. From the bottom to the top of the structures, the intervals appear in this order: perfect fourth, augmented fourth, perfect fourth. This particular order of intervals is consistent throughout the quartal structures in Music for Orchestra. The remaining structure which is used in parallel streams is the tone cluster. Parallel clusters of major seconds appear in the trombones and bassoons in a two-part contrap‘ Er VCI 24 ccntrapuntal texture in measures 205-06. Ex. 21. Music for Orchestra, meas. 205-06. z-T A .Equol measures plz 2 pin. In the small percentage of this work which does not involve parallelism, the harmony is composed of two-note structures with octave doublings. In reference to the classification of intervals, major and minor thirds and sixths, plus perfect fifths and octaves will be considered as consonant intervals for the purposes of this study. All other intervals, including perfect and augmented fourths, will be considered dissonant. ' The most frequently used consonant intervals are major and minor thirds, with major and minor seconds and ninths the dissonant intervals with the highest frequency. An examine reveal: and 311 dissone Tables hamonf 25 examination of these intervals at points of metric stress reveals that the consonant intervals, especially thirds and sixths, appear most often on strong beats. The important dissonant intervals on strong beats are sevenths and seconds. Tables 1, 2 and 3 show the proportionate use of the various harmonic structures. qr— . f is als Variat relate differ differ V be dis Variat binary Slime: length five-m Same m phrRae caSEa I CHAPTER II VARIATIONS FOR PIANO AND ORCHESTRA, GP. 54 £225. Variations for Piano contains 12 variations, and is also based on a tone row. .An interlude occurs between Variations XI and XII and the coda ends with material closely related to the introduction. Each variation presents a different treatment of the row, a different tempo, and a different meter. Variation XII consists of a prelude and fugue, and will be discussed later in Chapter VII. All of the other variations as well as the introduction are in traditional binary form. variations II, VI. VII, VIII and IX are symmetrical two-part forms. each section being equal in length. The A section of Variation II is comprised of three five-measure phrases. Variation VI is constructed in the same manner, each section containing two five-measure phrases. The material of the phrases and sections in these cases is very closely related in each variation. The parts of variation VIII are each three eight- measure phrases with the last two phrases being parallel, i.e., a b bllc d d. Parallel double periods appear in the symmetrical Variation VII. Each.part contains two parallel eight-measure periods, but part.A divides into four similar phrases while part B is composed of two periods. This may be expressed as, a a a a'“ b b'. Variation IX is symmetric due to the fact that the B part is literally repeated. 26 Hi‘ asymmet: part. ‘ only 1m is long: The B p: precedh The in that areas n 31 14!!! Ynlike . Buzzer intern: the 01362 that the the 01‘15 “math Tr“3905 mourn: The Pawn late 27 With the exception of Variations I and XII, the asymmetric variations all involve a literally repeated B part. Variation X is notable for the fact that it is the only instance in which the A part, two nine-measure periods, is longer than the B part, a repeated eight-measure period, The B part of Variation V is exactly twice as long as the preceding part due to the repeat, AHEB4‘, The row is shown below. This is an atonal row in that groups of tones which might tend to establish tonal areas have been avoided. Ex. 22. Variations for Piano, lZ-tone row, 4567 II~l-VOI.L:JI—— yen-r- ' Unlike the employment of the row in Music for Orchestra, Riegger freely used octave displacements in this work, so the intervals of the model are melodic characteristics of only the opening and closing sections. It is interesting to note that the introduction and six of the variations employ only the original and inverted versions of the row. Only in Variations I and VIII are all four versions found. Transpositions of any of the four versions are very rare, occurring mainly in Variation IX. The row is employed with.a variety of techniques. Perhaps the most obvious is the linear appearance of the complete row. In Example 23, the inverted row appears in the flutes a chomatl accompan statemen 28 flutes and clarinets and is accompanied by an ascending chromatic line doubled in seconds. The next phrase is accompanied by the same chromatic line with a complete statement of the original row in the flutes and oboes. Ex. 23. Variations for Piano, meas. 11-15. ”A ‘ 3m. 2 A procedure frequently used by Riegger is the repetition of previously used tones along with some tones further along in the row until the entire row has been used. For example, in measures 57-76 the piano states the row in the following manner: 1 and 2, 1-7, 5-7, 6-10, 6-12, 10-12, and 11 and 12. The employment of the row in a horizontal-vertical manner appears only occasionally. The first two measures of Example 24 contain 1 and 2 of the original row repeated by the violins part of in the ‘ E1 H in 3%: icubl‘ 29 violins, and 3 and a repeated by the woodwinds. The remaining part of the original and the complete inverted row are used in the triplet figures. Ex. 24. Variations for Piano, meas. 25-29, nelodic doubling of the row occurs, but the technique is not used as extensively as in.!usic for Orchestra. Beginning in measure 1&2, the original row in the first violins is doubled a second lower by the second violins and violas. cQ WA. Yerslc 30 Ex. 25. Variations for giano, meas. 1&2-48. Tpl'u.‘ fi ID The row appears in three different contexts. The same version may be used for two lines; it is sometimes used against free material, as was seen in Example 23; or different versions may be used simultaneously. In Example 26, the piano part is composed of the inverted row while the strings double the original version in octaves. Ex. 26. Variations for Piano, meas. 202-05. “a q - gnu. ~ " — ‘- g; so beat minute contain the ten that or by one A: is that differe 18 used XI the the sec rhythm Efiter 1 31 R thm. Tempos in Variations for Piano range from 60 beats per minute in Variation IX, to 240 beats per minute in Variation XII. Variations III, IV and XI contain some tempo changes, but all of the others maintain the tempo at which they began. The tempos are set so that the extremely fast or slow variations are separated by one in a more moderate tempo. Another contrasting element in this set of variations is that of meter. Each variation is set with a meter different from the one preceding. An unchanging meter is used in several of the variations, but in Variation XI the meter changes several times during the course of the section. Alternating meters also appear, producing an asymmetric rhythm where they are used. Alternating triple and duple meter is an important feature of Variations I and V. In Variations VII and X, triple and quadruple meter is employed in the same manner, and triple-quadruple and duple-quadruple alternations appear in Variation IV. The alternation of quintuple and quadruple meter is an important feature of Variation II. It is, of course, the division of the beat of the duple meter which provides the quadruple alternation with the quintuple meter in Example 27. 32 Variations for Piano, meas. 51-5“. Ex. 27. Fl. "i _ e p -_, An interesting metric scheme occurs as an integral part of Variation VIII. Ex. 28. Variations for Piano, meas. 190-93. ~~~~— ,. _.—~_.——- 8__.——-_—~ pp <17 .-.‘_/_ 7 In this case, simple and compound time occur simultaneously. In addition to this, the meter alternates between triple and 33 duple, all at a tempo of 192 beats per minute. Since the division of the beat in simple time never appears against the division in compound time, the effect of this passage in performance is that it is in only compound time, Borrowed divisions and sub-divisions occur occasionally throughout the work, but in certain passages are especially striking elements of the rhythm. The piano passage in Example 29 contains groupings of five and nine thirty-second notes and of seven sixteenth-notes. Ex. 29. Variations for Piano, meas. 128-29. ~~A-~‘-‘ s 1 M #\_‘ 3 An instance of divisions of the beat against borrowed divisions is shown in an oboe and piano passage from the coda, Ex. 30. Variations for Piano, meas. 37u-77. This 1 The I! torrov used a there! patter notes group: patter involv mlati Briat (”‘1 34 This is a characteristic rhythmic feature of the entire coda. The rhythm of Variation I is composed almost entirely of borrowed divisions and sub-divisions, but these are never used against the normal division of the beat. The variation therefore has the aural effect of being in compound time. In several of the variations, a repeated rhythmic pattern is an important element. For example, four sixteenth- notes followed by an eighth-note in Variation II, and groupings of four sixteenth-notes in Variation X are frequent patterns. Another recurring pattern found in Variation XI involves repeated notes in this manner: Jér—JLJJ. . A relationship can be found between the rhythmic pattern of Variation VI, and the pattern in Variation IX. Ex. 31. Variations for Piano, meas. 122-24, inten °°fi801 35 Ex. 32. Variations for Piano, meas. 223—25. /——:— Cl. 3b ”on. St 2. f Harmonic Structures. Variations for Piano is set in a 7"— preponderantly dissonant ccntrapuntal texture with a very light orchestration. Parallelism is used in only about half of the work. The passages where parallelism of some sort is not present usually contain intervallic harmonic structures (see Tables 1, 2 and 3). Of the consonant intervals, the thirds and sixths appear most frequently. Major and minor seconds, sevenths and ninths are the important dissonant intervals. The dissonant intervals are slightly more frequent in the harmony than the consonant, and are used noticeably more on the accented beats. Major and minor seconds, sevenths and ninths are especially important on the strong beats of the meter. The overlapping contrapuntal lines occasionally create a three-note chord. These include triads and implyed seventh and ninth chords, as well as a few quartal structures. Most are of passing importance, being unaccented, but two of these chords occur several times on accented beats. One is constructed with a fifth and a fourth above the lowest note, activl shows which added ?\‘t Oh 36 and the other a seventh and a fourth. Other structures include occasional isolated chords which provide sustained harmonic background to ccntrapuntal activity, or appear as rhythmic punctuations. Example 33 shows the beginning of a ccntrapuntal woodwind passage which is punctuated by implied seventh and ninth chords with added notes. Ex. 33. Variations for Piano, meas. 380-82, The s effec a. (:3) 0’ Pa The 35 a Sus1 958115 37 The sustained piano chord in measure 308 has the aural effect of two simultaneous quartal structures a second apart. Ex. 34. Variations for Piano, meas. 308-11. a . ’0 H. De. Bq. Pa. ”it. The second section of Variation IV is begun and ended with a sustained string chord. On a single staff the chord is easily seen to be a cluster. Ex. 35. Variations for Piano, strings, meas. 101. b The parallelism in Variations for Piano consists of chords built in thirds, quartal and quintal structures, and extended passages of parallel intervals. The melodic doubling resulting in parallel streams of intervals occurs at a major second, minor seventh and perfect fourth. Two separate dissur 1n nee 38 disjunct melodic lines are each doubled at a major second in measure 392. I-3. {3 H95. 1.4. I) ‘ThTs. it p '1 . ; 3 f. Ff . ___.~ This technique is used in a similar manner in measure 11?. In this case, the violins are in minor sevenths as are the violas and cellos. The lower string line is an inversion of the violin line. Ex. 3?- Variations for Piano, meas. 117-l9. IE’_ LL” A per eelod 0b. A L‘. 3b T9. ‘-=x~' AROthe; ezplOye E2 39 A perfect fourth is the interval at which the woodwind melodic fragments are doubled in measure 264. Ex. 38. Variations for Piano, meas. 264-66. Ob. Cl. sh Bus. Two. at “:dr f Another example of doubling at a perfect fourth is seen in measure 273 where two opposing streams of fourths are employed in the piano part. Ex. 39. Variatiggg for Piano, meas. 273-75. ?n.. P ‘f /\\____/ The three intervallic doublings mentioned above are ,\\“~..._—*"‘ used extensively throughout the work. The only others to occur include a rapid ascending line doubled at a tritone in the flutes, and a brief piano run in thirds. The ' are often For examp the aural 1n the ho first inv omitted. m Yn. A complet. the Patel .SJ so The tertian chords used in parallel streams in this work are often implied sonorities and usually contain added notes. For example, the parallel piano chords in Example 40 have the aural effect of eleventh chords. The parallel chords in the horns following this piano run are major chords in first inversion with added fourths, the chord fifth being omitted. Ex. 40. Variations for Piano, meas. 408-09. 0 ' A "3 A complete minor seventh chord in root position is used for the parallel brass passage in Example 41. Ex. 41. Variations for Piano, meas. 291. Patel than that in Maple augmented texture. Ex. 11 In Erample Parallel, and remain structure 1 effect of a passage is 41 Parallelism involving quartal structures is more frequent than that of tertian chords. The parallel quartal structure in Example 42 in the woodwinds is comprised of perfect and augmented fourths, and is one part of a two-part ccntrapuntal texture. Ex. 42. Variations for Piano, meas. 405-06. In Example 43, the trombones, horns and bassoons produce parallel, first inversion minor chords. The trumpets and remaining woodwinds are in fourths. The complete structure resulting from this melodic doubling has the effect of a quartal chord built on a major third. This passage is imitated in the strings in the measures following. 42 3 Cl. BM. Hm. lre'fs. sh Tvlr, L__....__I -“" ~' ’ Occas parallel c chords 1n augmented and the b: Ex. PM 43 Occasionally, two different structures are used in parallel chord streams. The parallel string and woodwind chords in Example 44 are again built with perfect and augmented fourths. This appears with a piano line in octaves and the brass passage, not shown, discussed in Example 41. Ex. 44. Variations for Piano, meas. 290-91. 5, .4e 4"? One q seen in E1 to counter a diminish] Ex. I» 44 One quintal chord is used with this technique, as is seen in Example 45 in the strings. The parallel structure, in counterpoint with a piano line in octaves, is built with a diminished fifth above and below an augmented fifth. Ex. 45. Variations for Piano, meas. 412-14. in ch techn round The t humor 45 Variations for Piano represents something of a change in character from Biegger's previous works. Although his techniques are similar, the sustained tension which was found in such works as his third symphony is missing here. The total effect is more relaxed and occasionally even humorous.22 22. Mellers, 22. cit.. p. 129. in; works in piece is Part is key area 81 Fine" return c The section 0f the A [1'1 H O Rb! " ’9‘th .11. #4.?) e f ~e. ,- 1 I"! — la 1 “5 We? —— _;)/7° NH, 6 :77 7’{§,._;/5% .1 .‘07 /‘1‘v.’/ CHAPTER III DANCE RHYTHHS, OP. 58 2232. Dance ghythms is notable among these Riegger works in that it is tonally organized. The form of this piece is that of the Classic minuet and trio. The second part is marked "Trio" and contrasts with the first in both key areas and character. The traditional direction, "D. C. a1 Fine" appears at the end of the Trio, indicating a return of the entire first part. The first part is in binary form with the second section repeated. This may be represented by the diagram Aldel. Example 46 shows the first appearance of the theme of the A section in the key area of D. Ex. 46. Dance ghythms, meas. 7-11. The ele concept by the the 3321 El . I \ Tm g I: ; #7 The element of syncopation seems to be strong in the rhythmic conception in all of Riegger's work. This is well illustrated by the themes used in this work. The B section is based on the same theme, but in the dominant key area of A. Ex. 47. Dance Rhythms, meas. 42-46. r- .> Tots } at That; In the final measures of the B section, there is a return to the key area of D. The trio is also in binary form, but in this case both parts are repeated together. This is represented by the diagram, “m | 3:“ . The theme of the trio is shown in Example 48 in the key area of B-flat, the key center for the A section. Ex. 48. Dance ghythms, meas. 103-05. The key me work the VIGIQ “MWD This tray the trip last ”it: 48 The last five measures of the A section establish D as the key center just before the beginning of the B section in F. The B-flat key center is re-established in the closing measures of the B section. There remains one more element of the form of this work to discuss, and that is the matter of the material in the six-measure introduction. EI. 49. Dance Rhythms, meas. 1-5, Violo ’00! lo Gannoboss This characteristic rhythmic pattern appears also in a short transition section after the trio, before the da capo, and is used throughout the work between appearances of the themes. B thm. Dance Rhythms is set at a tempo of 120 beats per minute and there are few deviations from this pace. The one notable change in tempo is the allargando indicated at the end of the first section which becomes molto allargando to end the piece. The rhythm of this whole work is strongly influenced by the constantly alternating meter. This alteration is between triple-and duple-simple meter and,with the exception of the last 32 measures of the first section, it pervades the entire piece. in a ‘115 M Vet Ch 812 31‘ CO 49 Borrowed divisions of the beat occur, but are not an important element to the over-all rhythm of the work. In the last five measures of the trio, triplets are used against the normal eighth-note division of the beat. Ex. 50. Dance ghythms, meas. 134-38. 8V!"' -. ----- L-- ---- ~- ........... Vlns. Vlo. Vcl. Oh. if Except for a brief passage in measure 74, this is the only such instance. The other occurrences of borrowed division are against the beat, creating a momentary sensation of compound time. Harmonic Structures. Since this is a tonal work, the harmonic structures are predictably tertian chords, and dissonance may be disucssed in terms of the traditional nonharmonic tones. Consonant intervals and triads are by far the most frequently used structures. Perfect octaves and fifths are numerous along with major triads in root position. Major triads in second inversion are also prominent structu Th seventh Ex The Chor Chords 0 Chem 1 Chord 3 4115th is in ; the 9031‘ incomplet All appee rat thr the loheg 50 structures (see Tables 1, 2 and 3). The most frequently used chords beyond triads are minor seventh chords, and various types of ninth chords. Ex. 51. Dance Rhythms, frequent seventh and ninth chords. be § 0 a z 3 The chords in part A of the above chart are complete ninth chords of the various qualities common in Dance Rhythms. Chords 1 and 2 contain minor sevenths plus minor ninths, chord 3 has a minor seventh with a major ninth, and 4 is constructed with a major seventh and a major ninth. Chord l is in first inversion and the rest are in fourth inversion, the position commonly used throughout the work. Of the incomplete ninth chords, those shown in part B are frequent. All appear in root position with the third omitted. The first three chords are spaced so that the ninth is between the lowest chord members, with the seventh in the highest voice treat ninth voice these In ch. dissoz Passin to des elemen' in the a“ 8w (11 to 801 51 voice. The root is doubled at the octave in chord 2, creating a second with the chord ninth. In chord 4, the ninth is doubled so that interval occurs between the lowest voices, and between the outer voices. The ninth in all of these chords is major, as is the seventh in chords 1 and 2. In chords 3 and 4, the seventh is minor. The nonharmonic tones frequently used to introduce t dissonance into this music include appoggiaturas, suspensions, passing tones and neighboring tones. These terms are used to describe the approach to and departure from the dissonant H element. For example, in measure 21 the unprepared dissonance in the second oboe and clarinet, resolved upward by step, is an appoggitura. Ex. 52. Dance Rhythms, meas. 21. Two or more different types of nonharmonic tones often occur simultaneously. A suspension occurs in the highest solo violin part in Example 53, while the middle solo part has an appoggitura. The nc includ and an ‘n 52 Ex. 53. Dance Rhythms, meas. 53-54. A A The nonharmonic tones on the second beat of measure 85 include an accented neighboring tone in the second violins, and an appoggitura in the cellos. All of these examples Ex. 54. Dance Rhythms, meas. 83-85. Vins. Vlo. Vci. Cb. e ' ———-= fl have been of accented nonharmonic tones, which appear more frequently than the unaccented throughout the work. The parallelism in Dance Rhythms differs from that in the other works. All of the parallel streams of chords shown have been composed of a structure with one quality, such as a major triad, major seventh chords, etc. This technique exploits the color characteristics of harmonic structures and tends to obscure tonal centers. For these 1“ reason to ret F3 in roo rt) Sevent Stream are al 53 reasons, the parallel chords in Dance RRythms are diatonic to retain the effect of the tonal centers. The parallel triads in the woodwinds in measure 52 are in root position, and are all diatonic to the key of D major. Ex. 55. Dance Rhythms, meas. 52, ' CD Fl. 0b. v 2 Clor. 3? snag Seventh chords in second inversion appear in a parallel stream in Example 56 in the woodwinds and brasses. These are also all diatonic in D major. Ex. 56. Dance RRythms, meas. 81-82. Picc. Fl. 0 Glor. Hue} intent doubit Two v Fatal and 1 54 Intervals are also used in this manner, as is seen in the doubling at a fifth in Example 57 in the woodwinds. Ex. 57. Dance RRythms, meas. 34-35. Fl. Clor. 8V | 8m. 2 ——£ Two very brief passages may be found in which the quality of parallel chords remains the same. These are in measures 101 and 105. The parallel second inversion triads are both major. Ex. 58. Dance RRythms, meas. 100-01. 55 In the key area of B-flat major, the G major chord relates to the tonic as a chromatic mediant. Ex. 59. Dance RRythms, meas. 105. FL} Vlns. V|o . Vcl . Dance RRythms is dedicated to Thor Johnson, the conductor of the Cincinnati Symphony Orchestra in 1955, and was first performed in the city of Riegger's birth, Albany, Georgia. pa“< av“ Vent,“ mm, is ”We: CHAPTER IV SYMPHONY N0. 4, OP. 63 Symphony No. 4 is in three movements and is conceived on a larger scale than the rest of the works in this study. The first movement begins with a strong feeling of B as a tonal center, but this is soon lost and returns only in the closing measures of the movement. Although this and other tonal centers can occasionally be determined, the work must be described as atonal. This is not to imply that serial methods were used in the manner of the Variations for Piano or Variations for Violin, but rather in a very free manner so as to prevent any tonal area from becoming firmly established. Melodic doubling, to be discussed later, is an important factor to the atonal character of this work. 2232. Movement I is a large two-part form with both parts restated in this manner; AI BflAl B “ . The material of the first movement is presented in a manner very similar to the Classic sonata allegro exposition and development, but of course, without the traditional key relationships. Theme I is stated first by the violas and cellos. Ex. 60. Sygphogy No. 4, Mvt. I, meas. 1-6. Violins Violo Violoncello Theme I by the Fis 1 05 fans Hos 3511ch 88 1t ietur secti in me 57 Theme II appears in the flutes in measure 15 and is imitated by the bassoons in measure 17. Ex. 61. Sygphogy No, 4, Mvt. I. mess. 15-19. Syncopation is an important characteristic of these themes as it is in the rest of these Riegger works. The first theme returns in measure 37 before the appearance of the closing section. The closing theme is stated in imitation beginning in measure 68. Theme I is the basis for the development- Ex. 62. Sygphogy No. 4, Mvt. I, meas. 68-71. like second section at measure 86. In measure 205, the A section returns shortened by only one measure, but with some changes in orchestration. Except for the opening measures, the return of the B section is literal to the very last note in the movement. also from the: Althc rhm ident alleg forms 58 Movement II has a three-part form,the third part being a return of the first, that is, A B A. The A section is also in ternary form. Material for this movement was taken from an earlier work, Chronicle, composed in 1936. The theme of the A section is stated first by the bassoon. Ex. 63. Symphogy NoI 4, Mvt. II, meas. 7-8. A. Vln.. Vlo. . Vol. 1’ P v Although the melodic contour of the theme changes, the rhythmically distinctive headmotive, 1J7] J . retains its identity. The B section begins in measure 60 with a driving allegro. After the tempo is reduced to one-third of its former rate, the B theme is presented by the strings. E1. 64. Szgphogy NO. 4, Mvt. II, meas. 99-100. " “run—sit. sat out :8.) 39C( lelc MOVE Pres 59 The return of the A section in measure 125 is at a somewhat slower tempo, 88 beats per minute instead of 96, and the material is re-orchestrated. The final movement may be described as a modified binary form expressed by this diagram: INTRO A l B llA'ls' com. The introduction, seen in part in Example 65, is a substantial section of 75 measures which presents material used through- out the movement. The theme is first stated by the woodwinds. Ex. 65. Sygphogy No, 4, Mvt. III, meas. 1-5. Sostenuto (J ' 60) 02 Flutes 5 pa Oboe: 5 ClarinetsinBié BossCIorMinBv Rom; P The opening pattern of an ascending minor second, followed by a leap of an augmented octave and a descending minor second is an important unifying motive which undergoes melodic expansion and contraction during the course of the movement. The introduction is followed by a tempo change to presto for the beginning of the A section. Movement III is a scherzo by nature and,thematically, it presents transformations of the opening motive. Some of these transformations are seen in the following two examples. The wide melodic leap is especially important in] in m. the 1 29351 1150! in me the m or th 60 in recalling the opening motive. Ex. 66. Sygphony No, 4, Mvt. III, meas. 174-78. Ex. 67. Sygphogy Nos 4, Mvt. III, meas. 339-43. The A section of this binary form begins at the presto in measure 76 and extends to measure 292. At this point, two measures of silence are followed by the B section. At measure 43?, material from the A section returns with only minor changes in orchestration. The return of the B section in measure 622 is literal. The coda in measure 759 closes the movement with a return to the tempo and the character of the introduction. butt 0 a—o’ lrn prev vita vit; rev "it the gas Flt 0a 61 R thm. Changing meters, along with syncopation and borrowed divisions, are vital to the rhythmic organization of Symphogy No, 4. As revealed by the discussion of previous works, a certain rhythmic unpredictability and vitality is a very definite part of Riegger's general style. Throughout Sygphogy NoI 4, cadences are often marked with a meter change. This is especially true of the first movement where sections in quadruple-simple time are ended with a measure in duple-simple. An important feature of the A section of Movement II is the extended passage using 4 and i signatures in alternate measures. Part of this passage is shown in Example 68. Ex. 68. Symphogy NoI 4, Mvt. II, meas. 25-30. Losses teneou: 62 A passage of triple-simple and compound time used simul- taneously is seen in Example 69. During this passage Ex. 69. Sygphogy No. 4, Mvt. II, meas. 99-102. JLJ Equal beats (One measure equals 3 cl preceding) 0125.5 E.H. F Totals? —_~—.—-...._ Timp. .0“ L) Equal beats (One meoture equals 3 of preceding) 'arco Vlns. {am 1‘ Via . Vol. in the B section, the meter is changed from triple-simple and compound to duple-simple and compound for one measure in each case. The introduction to Movement III contains a passage alternating between 2 and 3, but is for the most part in a time. The scherzo itself is written in 2 throughout, but the composer grouped the measures to produce the effect of changing compound meters in performance. Using measures 131- 148 as an example, brackets are placed over the score to group these measures in the following manner: 6 + 5 + 6 (3x2) + 6. At the rapid tempo of the scherzo, the listener is likely to receive the impression of the following meter changes in compound time: 3, fi;, g, and g. \ln Vk VCJ 63 Ex. 70. Smhogy No, 4, Mvt. III, meas. 131-148. (3x2)— Cls. _ __ j 2’ , 7.: 1? 8n. Cbn. Vcl . 4 L5 L6 (3.2)- \\ Dru “no. VIC. Vcl. t1 64 Borrowed divisions are also important to the metric scheme of Sygphogy Nos 4. In addition to alternation between simple and compound divisions, borrowed divisions are used simultaneously with the normal division or sub-division of the best. This effect is notated in several different ways. Part of an extended passage involving compound and simple time is shown in Example 71. Ex. 71. Sygphogy No, 4, Mvt. III, meas. 41-42, (a .-...-..........-...-K.. Flt. EH. ; Cls. Sb 8. 0|. St Clio. In another instance, the quarter note triplets against the syncopated line give the momentary impression of duple- compound meter at half the tempo. Ex. 72. Symphogy No, 4, Mvt. I, meas. 169-70. mm __-—u—u-—v-_-—r—— I .. .3 .' ....———— a .-l_ * V Hem. ‘ F i. ' . - ._____—___ 31;:f.‘_ —— __ *— ——-—-———_————— --‘ ““ 1 l l i I ‘ H a F'—' P,“ F-.—. t.’_______:_:_____________ | ...._________——-__ .. . :7: r_===_--—-—_———— —-—-—- 3~:-__—_.—- a-o‘u-n—o — - -- — w (W- — __ =—___ ’ _’— F’q O—Ifi v—v-J — ' ._W—_m m 4 ' ‘—-——- ————=——==——= ————_-——_ —_—— '_.: _. — _ .— ._'_'---'_:—_—__—__"""""' C n“ m —_ “ W M see tri con Us a»: Vlnj Vic Vt! 65 The presto of Movement III contains passages such as seen in Example 73. At one beat per measure, the duple and triple-simple measures produce the effect of simultaneous compound and simple time. Ex. 73. Sygphogy No, 4, Mvt. III, meas. 213-19. Cls. Vic . Vcl. Strict tempo is a feature of Movement I. Allegro moderato (on 112) is the tempo set, and the only variation from this rate is a two-measure accelerando. In direct contrast to the first movement, Movement II bears these instructions: "begin at J: 96: after that, tempo variable." There are also some contrasting tempos indicated. For example, in measure 60 the tempo suddenly changes to Allegro (Jm 69) , and this section is followed by an abrupt change 66 to 1/3 of that rate for the final section of the symphony. Harmonic Structures. The harmonic structures of Symphony No. 4 range in complexity from simple intervals in the two-part textures, to highly complex structures involving parallel streams of chords. Parallelism dominates the harmony again in this work, in a wide variety of structures (see Tables 1, 2 and 3). Parallel streams of triads are frequently used. In Example 74, a diminished triad in the woodwinds appears over a sustained string line. Ex. 74. Symphogy No, 4, Mvt. III. meas. 304-12. Two separate streams of parallel triads are used in measure 100 of the second movement. Parallel minor triads in root position in the violins and violas are used against another stream of minor chords in the trumpets and woodwinds, these being in second inversion. 67 Ex. 75. Smphogy No. 4, Mvt. II. meas. 99-102. JEJ Equal beois (One measure equals 3 0' D’DCCGMQ) Obs} _ “I E. H. Tpl8.'32 it Time. .6’ J‘LJ Equal beats (One measure equals 3 of preceding) am Vina. Vlo . Vol. The passage in Example 76 is especially notable because the two opposing parallel structures occur simultaneously in the same rhythm. triads are augmented. Ex. 76. Slgghogy No, 4, Mvt. I, meas. 371-72. Flo. 68 Both the trumpet triads and the woodwind v..— ~_ ~— F—l—s p.— M—-~—— 0—,— I —’—q 0".“ F’fi r—I 69 Parallel minor triads comprise the doubled woodwind line in the first movement. measure 375. In counterpoint with this. the strings have parallel chords spaced in sixths. When spelled in thirds, the string chord is a diminished— minor seventh chord with a major ninth. This ninth chord is in fourth inversion. Ex. 7?. Symphony No, 4. Mvt. I. meas. 375-77. ll =— 70 The triadic structures used in parallel passages include some added note chords. For instance. in the passage in Example 78 the parallel woodwind chord is a major triad in first inversion with an added minor third in the first flute and clarinet. Ex. 78. Szmphomz Nos 4, Mvt. III. meas. 225-28. Seventh chords are also frequently used in parallel passages, and these too often contain added notes. The violin chord in Example 79, spaced in sixths, is a major seventh chord in third inversion. Ex. 79. 31mphonz No. 4. Mvt. I, meas. 160-62. 71 Example 80 is a passage featuring two separate streams of parallel chords in counterpoint. Each line employs the same structure, a major-minor seventh chord in first inversion with an added minor third. In each case. the fifth of the chord is not present. Ex. 80. 81mphoml NoI 4, Hvt. I. mess. 108-09. 72 In addition to the ninth chord already discussed in Example 77, parallelism involving ninth chords is also seen in the passage shown in Example 81. The chord used in the strings is a complete dominant ninth chord in first inversion. That is. it is a major-minor seventh chord plus a major ninth. Ex. 81. 81mphomz go, H. Mvt. III. meas. 365-72. An instance of incomplete parallel ninth chords with added fourths may be found in Example 82, in the oboes and clarinets. The interval of a major ninth between the outer voices. plus the presence of the seventh. gives the strong aural impression of a major ninth chord with an added tritone. Ex. 82. Szmphomz No, 4. Mvt. III, meas. 1b5-u8. 73 The parallel chords of the preceding example could have been analyzed as eleventh chords had they been spaced in a different manner. The woodwind chord in Example 83 is an implyed minor seventh chord with an eleventh, the fifth and ninth being omitted. Ex. 83. Symphomz Nos 4, Mvt. III, meas. 114-17. Fls. Cle. One further example of this structure is seen in measure #3 of the second movement. The melodic doubling in the woodwinds and horns results in parallel eleventh chords built with implied augmented triads, major ninths and.augmented elevenths. The third and seventh.are omitted from these structures. 7“ Ex. 8h. Symphomz No, a, Mvt. II. meas. n3-u7. The most complicated tertian structure used in a parallel chord stream is found in Example 85 in the woodwinds over a contrabassoon pedal tone. These are thirteenth chords with both the perfect and diminished fifth present. Ex. 85. 81mphomz No, 4, Mvt. III, meas. 155-5?. 75 The following is the first chord in measure 156 isolated and transposed down an octave. The English horn and clarinet notes are spelled enharmcnically. This reveals an implyed Ex. 86. Szmphomz No. 4, Mvt. III. meas. 156. it diminished seventh chord with the third omitted, plus a minor ninth and a minor thirteenth. Added below this structure is a B-natural, the perfect fifth of the chord. In addition to the various tertian structures, quartal and quintal structures are also used in parallel streams. The melodic doubling of woodwinds and brasses results in quartal parallelism in Example 87. Ex. 87. Szmphonz No. 4. Mvt. III. meas. 32-35. chem the exam stn Case an: aum 76 In measure 280 of Movement I. the stream of quartal chords in the piccolo and flutes provides one part of a three-part ccntrapuntal passage. Ex. 88. Symphoml No: 4. Mvt. I. meas. 280-81. The parallel quartal structures in the preceding two examples contained only perfect fourths. but frequently these structures include augmented fourths as well. Such is the case in Example 89. The chord formed by the oboes, clarinet and violins is comprised of a perfect fourth over an augmented fourth. Ex. 89. Szmphoml No, 4. Mvt. II. meas. 13-14. 77 The parallel streams of chords are sometimes used in imitative passages, as in Example 90 where the woodwinds are answered by the violins and violas four measures later. Ex. 90. Smhomz N0. 1+, Mvt. I. meas. 356-59. As was the case with the tertian chords, the quartal a“3::‘11ctures sometimes contain added notes. For instance, the parallel woodwind and brass chords in Example 91 each Oontain an added augmented octave above the lowest note, 78 Ex. 91. Smhomz No, 1+, Mvt. I. meas. 117-20. 79 In Example 92, each note of a quartal structure in the brasses is attended by an added second so as to produce two parallel quartal streams a second apart. Ex. 92. Szmphomz No. 4, Mvt. III, meas. 55-58. Vlns. Vic. Vcl. Two streams of chords are occasionally used simultaneously, each stream employing a different structure. Such is the case in Example 93. The string and woodwind chord is quartal, while the two imitative brass chords are parallel major seventh chords with added tritones. 80 Ex. 93. Smhomz No, 4, Mvt. I. meas. 193-97. 81 other structures used in parallel streams include the woodwind chord in Example 94 composed entirely of tritones, which are all spelled as diminished fifths. Ex. 94. Szmphomz No, 4, Mvt. I, meas. 296-300. A parallel quintal structure appears in the strings in measure 325 of Movement III, built with a diminished and two perfect fifths. Ex. 95. Symphomy No. 4, Mvt. III, meas. 325-28. 82 Example 96 is an illustration of another quintal structure used in a parallel stream, this time in counter- point with another melodic line. The woodwind doublings result in chords which are parallel quintal structures built with diminished and augmented fifths. Ex. 96. SymphOny No. 4, Mvt. III, meas. 59-62. The parallelism resulting from melodic doubling is the dominant factor in the harmony of this work.. In the passages where the technique is not employed, dissonant intervals and tertian chords beyond triads are very important. These include the intervals of sevenths, tritones. fourths and seconds with seventh, ninth, eleventh and thirteenth chords. 83 The ninth, eleventh and thirteenth chords are often only implyed in three or four-note structures. These structures are important not only because of their frequency, but also by their appearance on strong beats or portions of beats within the meter. In Movements I and III, accented dissonance is the important harmonic element, but this situation is reversed in the second movement. The consonant intervals, perfect octaves, sixths, perfect fifths, and thirds along with triads, occupy the strong metric positions in Movement II. Dissonance in this case is unaccented and of passing consequence. A recording of Symphony No. 4 is available on the Louisville Orchestra's, First Edition Records (Lou-646), conducted by Robert Whitney. This work was commissioned by the Fromm Music Foundation of Chicago, and its first jperformance in 1957 was by the Illinois University Orchestra. CHAPTER V VARIATIONS FOR VIOLIN AND ORCHESTRA, OP. 71 £23m. 'Variations for Violin is formally composed of 12 variations preceded by an introduction and followed by an extended cadenza and short coda. As was the case with Variations for Piano, this work is a series of small two-part forms, each highly unified, and linked together by various relationships. A tone row is again the basic unifying factor. an important element to the form. The first two sections, the Introduction and Variation I. are in symmetric two-part form. Part A of the Introduction is in two definite eight-measure periods, the second of which reverses the roles of the Solo and accompaniment as they appeared in the first period. The same procedure is used for part B. Variation I is symmetric by virtue of the fact that the B section is literally repeated, its eleven measures ‘balancing the two eleven-measure periods of the A part. fIhe solo violin is accompanied by the sustained tone of a solo cello in the A section. The second period of this section is simply a restatement of the first, transposed an octave higher. The only other variation which is symmetric is number ‘111. Each part has 22 measures which can be divided into Smaller related units. The two periods of part‘A are Parallel. their relationship expressed in the diagram, a. b a' b'. The B part is formally unified in the same manner, 84 85 giving the diagram for the complete variation this appearance: a b a' b'“ c d c' d'. The remaining variations are in binary form, but with unbalanced sections. Variations III. VIII, and IX are all constructed with repeated sections in this manner:lkA1kBfl|. Variation VIII is the only one of the binary forms in which the A part is shorter than the 3 part. A notable feature of the third variation is the rhyming ending of the two parts. Ex. 9?. Variations for Violin, meas. 101-102. 86 Ex. 98. Variations for Violin, meas. 110-11. v.5. ‘kv‘f ”P .T— if. ”n";- Cb. . 1 Three of these variations. numbers II, x and XI, employ 110 repetitions within the binary form. Variation II is (somposed of two imitative parts, the first of which employs an three-measure subject in canonic imitation. Ex. 99. Variations for Violin. meas. 66-70. H. Di». 5". V. 5.1. 87 Variation VI is unique in this catagory of two-part forms in that only its second part is repeated, Aldel. Three of the variations in this work are in asymmetric binary or three-part form. The first part of Variation IV contains eight measures, beginning with a distinctive imitative passage. A nine-measure second part is followed by a return of the first four imitative measures of part A. The diagram of the variation appears as.WA2”1B Ail . Variation V is also constructed in this manner, but the A part is not repeated. The last variation, number XII, has a repeated A part, a shorter B part, with the return of the A part leading directly into an extended cadenza for the solo violin. Riegger deliberately separated each of these variations ‘with tempo and meter changes, but in a few cases indicated that there was to be no hesitation between them. Variations II and III are related melodically, and the direction "attacca" is given at the end of numbers IX and XI. These violin variations are based upon this row: Ex. lOO. Variations fom_Violin, lZ-tone row. £31nce octave displacements are not a consistent factor. the 8equence of intervals appearing in Example 100 is significant t<> the melodic construction. Major and minor seconds are 88 predominant in this atonal row. Two major thirds, one major seventh and a tritone are the distinctive melodic leaps. All four versions of the row are used, but it is important to note that the original and inverted versions are by far the most frequently used. The other two versions appear only rarely, and not until the work is well under way. The retrograde version is first used at the end of Variation IV, and the retrograde—inversion is not stated completely until the end of the fifth variation. With the exception of a few short passages, transpositions of the row are not used in this work. A rare example of this appears in measures 387-390 where a fragment of the original row appears in melodic doubling. Ex. lOl. Variations for Violin. meas. 386-90. P‘Ld. F I. 06. 89 The four versions of the row are employed in a variety of ways. Four successive statements of the original row cpen the work, and are followed by a section comprised of alternate statements of the inverted and original row. The four successive statements of the original row in the cadenza are notable for the octave displacements which create an unusually disjunct melodic line. Ex. 102. Variations for Violin. meas. 348-51. ”‘7' ’5' s 8 VI SO a 3’ h Incomplete statements of the row frequently appear. Often. the row fragments immediately precede or follow a complete statement. Example 103 shows a fragment of the inverted row, numbers 2, 3 and 4, used in an imitative passage in the woodwinds. Ex. 103. Variations for Violin. meas. 78-81. fl. 0%.- h " "15:; --__".-_...7_-..'- 8n. V.Sa|o 9O Fragments of the retrograde row are used by the solo violin in the cadenza. The solo progresses through the entire row by using overlapping fragments in this manner: Ex. 104. Variations for Violin. meas. 319-22. R: n. I F 4' u '8' I 5 If" V.So\o b . , v »‘ The importance of the row in this work is in its melodic implications, its linear rather than vertical employment. The simplest use of the row occurs in the Introduction and first variation. In these sections, the row is stated as a single melodic line accompanied by a sustained tone. More complicated textures appear as the work progresses. The inversion of the row is used with the horizontal- vertical method of employment in measures 59-62. The sustained cello tone is the first member of this row, and it accompanies the presentation of the rest of the series in solo violin double st0ps. The notes of the double stops are successive row members in each case. Ex. 105. Variations for Violin, meas. 59-64. V- Sal. VAN. 91 The canon previously discussed in Example 99 is constructed with the original row used for each voice entrance. Other examples which use the same version of the row in counterpoint include a passage in measures 113-18, and This contrabassoon and solo violin passage The measures 134-37. begins with a canon in diminution at the double octave. retrograde-inversion row in each part is accompanied by a woodwind cluster chord . Ex. 106. Variations for Violin, meas. 134-35. Pass. H. I 2 05. 2;, V. Sole \ In Example 107, the solo violin states the complete inverted row followed by the original. This is in counter- p°1nt with one bassoon statement of the inversion in longer 92 note values. Variations for Violin, meas. 80-84. Ex. 107. . ;:0 1‘ 5n. 3;. , “mm , ', PH <1 In other portions of this work, two different versions of Each part of 'the row are employed in a ccntrapuntal texture. the imitative woodwind passage in Example 108 states the original row, but the solo violin part is a retrograde stuatement of the row. Ex. 108. Variations for Violin, meas. 130-31. Fl. as. a. 3? Bus. V.$ 93 The extended ccntrapuntal passage of Variations X and XI contains the greatest variety of combinations of different row versions in the entire work. In measures 266-71 for example, each of the four separate lines is constructed with a different row version. The solo violin states the retro- grade row against the retrograde-inversion in the violins. The viola part is composed of repeated fragments of the original row, and repeated fragments of the inverted row appear in the cello and bass line. Ex. 109. Variations for Violin, meas. 266-71. A P" A We. Ye. Cb. 94 In an occasional short passage, the row is broken into segments which are successively stated by different instru- ments. This technique is best seen in measures 283-86. In these four measures, all four versions of the row are stated in this order; original, inversion, retrograde, and retrograde-inversion. Ex. 110. Variations for Violin, meas. 283-86. fiuwsso '1'“ 3 ‘ . Rt’l 3 - c Q G FL Ba . 5. Dr. V. Solo 95 It remains to be noted that in Variations VI and XI the row is not in evidence. Although these sections are in keeping with the character of the rest of the work, only very free associations with the row can be found. The only other passages in the work which are free of the row are two short segments of the cadenza. R thm. The rhythmic vitality of Vagiations for Violmm is a prominent element of the music. Although there is no rhythmic motive used consistently throughout this work, several of the individual variations make use of a motive as a unifying device. Variation II is constructed with the motive, .m I. , and the submotives, m , and fl J5 (see previous examples). The following motive is important to the fourth variation: JV Jim . In Variation VII, the figure4. .0! my” expanded by addition of notes in this manner: (ting?) ml) The submotive,i¢.Jj ‘Jb , is also used. Variation VIII is based on the motive, fi ‘J . The duration of the second note varies in the many appearances of the motive. Although each variation is in a meter different from the one preceding it, the variety of meters chosen by Riegger is limited to alla breve, z and a for the most part. Each of these time signatures is used for three variations, and only Variation II is in i time. Changing meters are an important feature of Variations V and IX, and one short cadenza passage. It must be noted that, with one exception. this whole work is in simple time. The first variation in g 96 is the single occurrence of compound time. The extensive use of borrowed divisions in several of the variations provides contrast with the normal division of the simple time signatures. Variations III, V, VI and VIII contain the use of borrowed divisions alternating with the normal division of the beat. These alternating divisions usually occur against the beat so that the rhythmic effect of two against three is rare. One extended passage in the cadenza, measures 345-356, is entirely in triplets, producing the effect of a meter change from simple to compound time. The remaining time element to be discussed is that of tempo. Each variation is set in a different tempo as well as meter. In most cases, the tempo established at the beginning of a variation is maintained throughout, but Variations IV and XII contain some tempo changes. These take the form of a more animated middle section in the fourth variation, and ritards and accelerandos in Variation XII and the cadenza. The extremes in tempo are found in Variation V at 56 beats per minute, and in Variation XII at 144. The tempo for the twelfth variation is carried through to the end of the work. Variation VI is marked "Tempo comodo" (sic.), and "con brio" is the only indication given for Variation VIII. Harmonic Structumgg. The harmonic structures in Variations for Violin range from intervals to highly complex chords. Of these, simple two-note structures are especially important to the Introduction and Variations I. II and X. Dissonant intervals are used with the highest frequency, major 97 and minor seconds and ninths being especially important. Within the metric scheme, dissonant intervals occur on accented beats in proportion to their frequency. Accented sevenths, seconds and ninths are the most important to the harmony. The tertian structures include a wide range of implied chords. Of those occurring as accented chords within the meter, first and second inversion triads are important. along with implied seventh and ninth chords (see Tables 1, 2 and 3). The structures discussed to this point have resulted from the confluence of ccntrapuntal lines. In the homophonic textures, isolated chords are used to provide a sustained background to a melodic line, or to punctuate such a line. The whole range of tertian sonorities is used for this purpose as well as quartal structures and tone clusters. Example 111 shows the beginning of an extended passage for the solo violin, harp and double bass. Ex. 111. Variations for Violmm, meas. 143-45. Tgwpo emaAo A a Ab Eb NM]: 5., cu m. V. Solo Pitt. CG». ,__P" 98 Among the various chords used by the harp as an accompanying instrument, the following are representative: Ex. 112. Variations for Violin. harp chords. l 2 5 Chord 1, a major seventh chord, is in second inversion. The second chord may be analyzed as a polychord composed of two implied ninth chords, and chord 3 is a quartal structure. The flutes and piccolo are used to punctuate the contra- bassoon line with a tone cluster in measure 141. Clusters Ex. 113. Variations for Violin. meas. 141-42. (53 are also used as sustained chords. Others include the implied eleventh chord in measure 223, where both the major and minor third, major and minor ninth, and perfect and diminished 99 fifth are present: Ex. 114. Variations for Violin. meas. 223. Ell-mn- 100 the quartal structure in the woodwinds in measure 236: Ex. 115. Variations for Violin, meas. 236-37. Ft. 0b. Cl. 8? 8M. 11.5. ‘J and the thirteenth chord in measure 110. It must be noted Ex. 116. Variations for Violin, meas. 110. ff’,‘ é -u7‘__. P. Fl Ob. fl’ fP that the implied eleventh chord seen in Example 114, and the U. 3? thirteenth chord in the preceding example are not traditional chords. They might be analyzed as polychords rather than 101 single tertian structures with added notes. The technique of melodic doubling as used in this work again results in a variety of parallel structures. including intervallic, tertial, quartal, quintal and cluster chords. Parallel streams of intervals and quartal chords are most frequent and will be discussed first. The solo violin produces a stream of parallel minor sevenths by means of double stops. Ex. 117. Variations for Violin, meas. 57-61. ~ . hw‘" V. 5910 V¢.$Aa ;! P 3‘ #2 The tritone is the interval of doubling between the clarinets and bassoons in measure 104. Ex. 118. Variations for Violin, meas. 103-04. Ob. V. Solo 102 The following examples illustrate the use of parallel quartal structures, such as the woodwind chord stream in measures 239-40. The first oboe doubles the first clarinet at an octave, producing an interval of a perfect fifth between oboes I and II. Ex. 119. Variations for Violin, meas. 239-40. 0b. The harp chords in measure 383 are quartal structures containing perfect fourths, a tritone and a diminished fourth. It should be noted that these chords are not really parallel. The diminished fourth appears between different chord members in each case. 103 Ex. 120. Variations for Violin, meas. 383-85. > ' Isak , HM”? A quintal chord is used in a parallel stream in the woodwinds in measure 38?. This structure is built with alternating diminished and perfect fifths. Immediately Ex. 121. Variations for Violin, meas. 387-90. 2'... Fl. 104 following this passage, woodwinds and upper strings are doubled in a parallel quintal structure which occurs over a sustained eleventh chord in the brasses. Ex. 122. Variations for Violin, meas. 391-94. A F '1»... Fl. 06. Cl. 14 3m . Hm. F T . 23‘ T4: The. 105 The tertian structures used in parallel streams are limited for the most part to seventh and ninth chords in this work. In measures 192-95, the piccolo, flute I and Ex. 123. Variations for Violin, meas. 192-95. Iztc. Fl. Ob. Cl. eb 106 oboe I are doubled with the first violins and the first stand of second violins to produce a parallel stream of major seventh chords in root position. The remaining woodwinds and strings produce another chord stream, this time diminished- minor seventh chords in root position with the third omitted. Enharmonic spellings are used within these seventh chords. An augmented-major seventh chord with an added fourth is the structure in the horns and trombones in Example 124, Ex. 124. Variations for Violin, meas. 224-25. ' r“: ‘ 107 The strings doubling this chord are not shown. The entrance of the woodwinds and trumpets on the last sixteenth-note of beat two gives the combined sonority the effect of an augmented ninth chord. The parallel, trilled string chords in Example 125 may best be described as incomplete eleventh chords. They are constructed with a minor third. major ninth and an augmented eleventh. Ex. 125. Variations for Violin, meas. 105-07. v.5. Cabs ‘ A rare example of parallel cluster chords is seen in measures 134-36. The piccolo and flutes, in minor seconds, 108 accompany the canonic imitation in the contrabassoon and solo violin. In the passage immediately following, this cluster Ex. 126. Variations for Violin. meas. 134-36. f’ice. Fl. ; 06. Cf . V.Selo is respaced and the parallel piccolo and flute chord is built with major sevenths. 109 Ex. 12?. Variations for Violin, meas. 138-39. fF' Rue. FL Tabb ‘ASJo This work was commissioned by the Louisville Orchestra and was first performed in Louisville, Kentucky on April 1, 1959. The handling of the solo violin is imaginative and idiomatic within a tightly austere framework.23 23. Sabin, 92. 2_i_1_:_.. p. 1799. CHAPTER VI CADENCES Traditional harmonic progressions were used for the cadences in Dance Rmythms, and some modified dominant-tonic relationships may be found in the other works, but in many instances other means of producing effective cadences were employed. Perhaps the simplest procedure for producing a cadential effect is that of a tempo change. In Example 128, the cadential measures return to the original tempo after an accelerando in the measures preceding. The percussive chords add to the feeling of finality. Each of the last two chords contains eleven notes, C# being omitted from the penultimate chord and C-natural from the final chord. The melodic intervals between the two chords are predominately half steps with whole steps in the brasses. The bass instruments, leap down a major third or up a minor sixth. 110 111 Ex. 128. Music for Orchestra, meas. 263-66. tempo 112 The cadence is reached in Example 129 by a lengthening of note values in the cello line, and a sustained chord, all at a very soft dynamic level. The movement of the cellos from B-flat to A-flat produces a chord change from a dominant ninth in fourth inversion. to a ninth chord on D with a diminished fifth, minor seventh and a major ninth. Effective cadences are also produced without a slowing of the tempo or a lengthening of note values. In these cases, the techniques include interrupting the rhythmic drive with rests, changing an established rhythmic pattern, and changing the orchestration. The final cadence in Variations for Violin illustrates these techniques. The tutti orchestral texture is reduced to a timpani solo before the final, sustained chord. The final chord contains ten notes, is subjected to a crescendo, and is followed by a final timpani punctuation. 113 Ex. 130. Variations for Violin, meas. 395-400. I)? 3- ]) 6 - .\ 3‘ A 8‘ __._..._. 9"}??? f ’5 ’ - ("so 114 One of the cadences from the second movement of Symphomy No, 4 also illustrates this technique. The established rhythmic motion is interrupted by a meter change and a rest on a strategic beat. The final chord is a quartal structure, approached by a minor-major seventh chord with the major seventh spelled as a diminished octave. Ex. 131. Symphony No. 4, Mvt. II, meas. 57-59. The cadence in Example 132 is a result of a combination of all of the techniques discussed to this point. In addition to a rallentando, the triplet figures are interrupted by rests and the lengthened note values are syncopated during a diminuendo to pianissimo. The final chord is composed of two clusters separated by a tritone, and the penultimate chord is a first inversion dominant ninth with an added tritone. 115 Ex. 132. Symphomy No. 4, Mvt. III, meas. 73-75. Umm VIM. Vlc. Vcl. Some of the cadences appear with no apparent rhythmic preparation. These usually feature a percussive final chord or note to aid the cadential effect. Example 133 is such a case. The rhythmic drive continues through the final measure where the music simply stops. The final structure in the woodwinds is a major second doubled at the octave. Pizzicato strings doubling the woodwinds give a punctuating effect to the cadence. The wide melodic leaps in the woodwinds also contribute to the effect. 116 Ex. 133. Variations for Piano, meas. 75-76. at. ..... ‘ Fl. Ob. Cl. 8!: 5m. 77m. 3|? T’n. Vln. Vc. flu..- 117 Most of the examples so far have involved relatively complex vertical structures, but cadences are also effected in a linear manner. Movement I of Symphomy No. 4 closes with such a cadence. The tempo remains constant, but the quarter rests in the penultimate measure provide enough hesitation in the rhythm to make the ending final. The voice leading is very important here. The resolution of the A# in measure 403, and the repetition of the B-natural establish B as a tonal center for this brief moment. Ex. 134. Symphomy Nos 4, Mvt. I, meas. 403-07. nan r”. Vina. Vlc. Vcl. -_._.--_. .-......—. .._.....-.q... . .-___.-.--X__- -. ., ...._... - -1. ...- . B. The linear cadence in Example 135 is achieved through a pause in the rhythmic motion, a descending melodic leap of a major seventh, and a crescendo to forte. This occurs with a sustained cello harmonic. Ex. 135. Variations for Violin, meas. 61-65. a n~ 9‘ P61. 1 V V5310 ‘ v.5.» f 118 A cadential effect is achieved in Example 136 by the repetition of a rhythmic pattern in longer note values. Ex. 136. Variations for Piano, meas. 39-40. One more cadential element must be discussed, and that is the matter of where the final chord or note occurs within the meter. Of the examples already seen, a percussive chord on a strong beat occurs in Example 128, and Example 133 is an illustration of a percussive ending on a weak part of a beat. The sustained final note as seen in Example 134 is on a strong beat. Some further possibilities include the sustained ending in Example 137 in a relatively weak metric position. and the woodwind chord punctuated by pizzicato strings on a weak beat, in quadruple meter in Example 138. 119 Ex. 13?. Music for Orchestra, meas. 17-19. 120 Ex. 138. Variations for Violin, meas. 100-02. V_-;Elat-9.31-r:::F1’—§’4 Obs crox. ’ —‘ L‘— ’~_' I 1 p—fl“~\ ——- m2? ———— 4 ji—H— -+—5\;—--- » 2 §%::€:‘1' P77 43:fi-.;.4 fi?}~m‘r“fi;’ ‘-—1-—J true 7‘1—3’ A l " EH. .,T}%fg"?77177 ‘1' 1‘ '. @7377 '1' 3¥WE F U—r 7 ' ' ' 1717.1 _._. ..__,u7 % A I !— ——. c...y-:s~e%- J-_- / is...» -71-- __._ .4... . as? . -—--- -- _ am y . -n..._ _____'_—__.__._, --_.y-—_ mv—g-——_.~“—.- -~ - __ . -.____.——.——..—... "—4p__ .—._ - ‘ ....... - a." "Z--." __ ‘7 " “'1” __\ _.:jfs.;.,-[.._.._.3. Jib - Dr's-5.9:;ég-zga .~.__.:::-3.::e::{t: 1-. _ - 1—7- -— "=1 —% 2:: _q_. q' L_L2.Ti man-n— -_._.¢’ Music for Orchestra: Combinations of strings and woodwinds. and strings, woodwinds and brasses are the basis of the orchestration of this work as they were for the symphony. These groups are used for about 50% of the work. mostly in contrapuntal sections. The high percentage of scoring for woodwinds and brasses. relative to the other works. is a notable feature of the orchestration. The material of Example 229 returns several times with varying woodwind and brass instrumentations. 185 Ex. 229. Music for Orchestra. meas. 7-10. Pia mosso (J =80) /\ - w9.2 _ . 135““ - _ E. . FL 5?¥—:§§£¥3§Zlaggéz;ngm.l"' 'T$E12%::?7373233353352€4 '\ Ob. 1:: 7 EEEE::::;E~:;:¥ Cur. 8b ’\ ‘ ___ -»:1'-'}jt_:._ £1”. “.1... ":3: :7:_:j Tpls 8P Dance Rhythms: The most frequent single instrumentation in Dance Rhythms involves members from each family of instruments. including percussion. most often in a homophonic texture. A large portion of these passages are for tutti orchestra. The use of some of the other groupings makes the orchestration of this work somewhat unique. The percentage of the work scored for strings and percussion is relatively high. 186 Ex. 230. Dance Rhythms. meas. 47-50. 8.0. Gym. 80. Vcl Cb. f ,d’ f The various combinations which include the harp also make the orchestration unique. especially since the harp appears in only one of the other works. Variations for Viplin. Example 225. seen on page 178. ends with a short passage for solo harp. This instrument is also frequently used in an accompanying role. Variations for Violin: Almost half of this work is scored for Solo and strings. and Solo with strings and woodwinds. The later of these two groupings is especially important in the contrapuntal sections. while the first is used equally in homOphonic and contrapuntal sections. A unique instrumentation is found in the combination 187 of solo violin and harp with the orchestral strings. In Example 231. the strings are represented by the pizzicato double basses. This is the only instrumentation used in Variation VI. Ex. 231. Variations for Violin. meas. 143-45. Ab it “Art .9. a. V. Solo bit.” *Tsr 86. P" , Variations for Piano: The basic instrumentation for this work is solo piano with string accompaniment. Relative to the rest of the instrumental combinations. the Solo appears alone in the texture a high percentage of the time. 188 Some of these solo piano passages are brief contrapuntal sections. as in Example 232, but most are single lines such Ex. 232. variations for Piano. meas. 120-21.' as the opening statement of the fugue in Variation XII. or such lines doubled in octaves. Ex. 233. Variations for Piano. meas. 370-72. 189 Other Combinations. Some of the combinations are only rarely used. often occurring in very short passages between phrases or contrapuntal sections. For example, the brass and percussion combinations in these situations are usually used for sustained or percussive chords. Others of these infrequently employed combinations are used in more substantial passages, such as the strings and brasses of Example 234. and the string. woodwind and percussion combination in Example 235. Tbns. VH1 Vln.2 VkL VtL 190 Music for Orchestra, meas. 249-51. :E—Eré ..._7-_.__..?fl_ .Z::?: 6.. :Z.3B5: —. "‘1‘:- _ {1:12_;::;r."777‘ a_.____.__._— -4____— -- -m- .J— '7." “71*" we»: - Cb. Ex. 235. © 191 Dance Rnythms. meas. 18-22. 192 Two combinations as seen in Examples 236 and 237 create some interesting orchestral effects using percussion instruments. The strings in Example 236 are to play pizzicato at this point. Ex. 236. Symphony No. 4. Mvt. II. meas. 54-58. ”.1 | {93"1- ~: _~—-. TW- ' is SW 5.0. Vlns. p,.,_x_.__..-- ,-_ ..-_. ___...- ..- - . _. _ , 1-1... 1...- Hit-T... 2 CL‘:‘L'JL:;:.;Z;IIT_fi£;i.{:1?$:;r¥7pwiffili _.. . - .. o - "— T I f 1’ Vlc. 33§5o23:55:5:£g::—Vfi g; f 1’ Vet jErz:§{f~-§flfiffl:& .- x 11 B 9:235:1j 3:...- $11E737§tf337ea 7 7‘ ' K--:jd:;:;:f _:.::;_;':P i; 7.--- 4.:‘7 n- .*.___7:; -1 7 Ex. 23?. Symphony No. 4. Mvt. III. meas. 393-400. so -§}-+we--—_ E%Ae e_ _ 5%.: e -arn Can L-_——-—...- — -4 A/J-E F“\l. AKA ; r T r r ' BD. l-—--—--F-- — <-:.-——---—- - "— ——-. F {r i - _r.-._..--- {,. .. .--__.. w---— 193 In light of the great variety of instrumental combinations used by Riegger. it is rather interesting to note how few of them involve brasses alone in the texture. Example 238 shows one such passage. Ex. 238. Variations for Piano, meas. 397-99. 194 Woodwinds and brasses with percussion are used in extended passages only in Symphony No. 4. and strings. Ex. 239. Symphony No. 4, Mvt. III. meas. 742-46. woodwinds and harp appear in combination in only one Passage of Variations for Violyn. Ex. 240. Fl. 195 meas. for Violin. tions Varia 196 Doubling. The effects of doubling were disucssed in connection with the harmonic structures used in these works. Doubling is also. of course, a matter of orchestration not to be dismissed as merely a means of increasing dynamics. Although the technique is indeed used to produce massive blocks of sound. it is also reSponsible for some very subtle orchestral effects. Table 9 on page 261 reveals the extent of this technique in each work. and Table 10 on page 262 indicates the instrumental combinations involved in doubling. Almost all of MBEAQ for Orchestra involves doubling of some type. and the orchestration of the other works is dominated by this technique. The examples in the following discussion illustrate situations common to several works. and some of the doublings which are unique in particular works. The most common doublings involve the strings. The following groups are used in all five works: Tutti strings: violin. viola. and cello: viola and cello: and cello and double bass. These are doublings at the octave and unison in most cases. and because of the homogeneous nature of the string timbres. the effect is simply one of increased dynamics and a more dense texture. The doublings involving woodwinds and brasses. however. are widely varied among the works and provide some of the more interesting timbre contrasts. Three of these works. Symphony No. 4. Music for Orchestra and Variations for Piano. employ four of the same 197 groups of woodwinds and strings in similar situations in each case. Flutes. oboes and clarinets doubled with violins. violas and cellos in octaves and unisons are usually used in contrapuntal passages for full orchestra. Bassoons and double basses are also frequently doubled in octaves. often on sustained notes. In the lighter textures. bassoons and violas are often used in unison for an independent line in a contrapuntal passage. These same three works contain doublings involving clarinets. bassoons and various groups of strings, combinations which are frequently employed in melodic doubling. 198 Ex. 241. Variations for Piam. meas. 450-53. 199 The similarity in instrumentation between the symphony and Music for Orchestra is reflected also in the doubling combinations. The woodwind and string doublings in Examples 242 and 243 produce the same percussive effect in each work. The intervals of doubling in Example 243 are octaves and unisons. while in Example 242 the doubling produces a succession of repeated modified quartal structures. Ex. 242. Music for Orchestra. meas. 35-36. change to Flute Pics. Fl. 5 Ob. ~— Clor. é 3b an. é Vln. l Vln. 2 Vlc. Vol. 200 Ex. 243. Symphony No. 4. Mvt. I. meas. 262-63. v — A Variations for Violin is the work which proportion- ately employs the most doubling between woodwinds and strings. The most frequent combination used. piccolo. flutes, oboes. clarinets and strings. seen in Example 244, happens to be unique to this work. 201 Ex. 244. Variations for Violin. meas. 391-94. F A . -9 “lo 3 £- l: ...x _ E __1__' :1 _.1:‘_, '17:: P¢¢‘ ‘bwLD‘k‘E-‘E-.:7 . E .__:_r1 a r --. :5 ‘ ' n .‘+4,!- -2::..3_-‘~,‘~.\\ (I I'-_ 2?: .31 é! vs ¢ . --_-—\__ : _,. ‘ «' l .. -s- y ,‘ ‘ ' a; all 3.1.; l 202 The greatest variety of string and woodwind doublings is found in Symphony No. 4. Examples 245 and 246 are representative of the many combinations used only in this work. Measure 106 in the first movement of the symphony is a rare case of the piccolo appearing without a flute doubling. and in measures 286-88 from the same movement. an oboe. English horn and two bassoons with the violas and cellos form a parallel stream of chords in a contrapuntal texture. Ex. 245. Symphony No. 4. Mvt. I. meas. 104-O7. 203 Ex. 246. Synphony No. 4, Mvt. I. meas. 286-88. ldlv.) ngfifi - Doublings involving strings. woodwinds and brasses are used in each of the works. but only in Dance Rhythms is this combination a frequent part of the orchestration. A common doubling of this sort involves bassoons. double basses and trombones as seen in Example 247, or bassoons, double basses and a tuba as in Example 248. These doublings are usually in unison or octaves. producing a strong bass line. 204 Ex. 24?. Dance Rhythms. meas. 120-22. 205 Ex. 248. Synphony No. 4, Mvt. II. meas. 106-10. a2 Tuba Vlns. Vlc. Vcl. fl! Woodwind Doubl;ng_. The woodwind doublings are of interest not only because they are frequent in all of the works. but because they are often used to create the parallelism which is so much a part of Riegger's style. Two groups of woodwinds appear in all of the works. These are flutes. oboes. clarinets: and clarinets and bassoons. Other frequent doublings include flutes and oboes: flutes. oboes, clarinets and bassoons: and oboes and clarinets. The following examples are representative of the great 206 many woodwind doublings used in these works. These combin- ations are used in various textures. but are eSpecially important to contrapuntal sections. In Symphony No. 4, Woodwind doublings are used alone in the texture. Ex. 249. Synphony No. 4. Mvt. III, meas. 225-28. The same woodwind combination of flutes. oboes and clarinets is used with a string accompaniment in Example 250. Parallel string chords provide the second voice in this passage. Ex. 250. Music for Orchestra. meas. 46-48. 207 One of Riegger's favorite orchestral effects is that which results from the doubling of a bassoon with a piccolo or flute. Ex. 251. Music for Orchestra. meas. 118-21. El] a tempo” =88) 03 I? b ‘ «:3.— ‘w- Ex. 252. Variations for Piano. meas. 79. 4‘6“) deal. 14cb~ 06. 208 This was also seen in Example 237 in a passage from the symphony. A similar effect is achieved with flutes and bass clarinet in Example 253. Ex. 253. Symphony No. 4. Mvt. III. meas. 295-301. Pairs of like woodwind instruments are frequently used for melodic doubling in Symphony No. 4, as seen in previous examples, but this pairing is not common in the other four works. One rare case is found in measure 386 of Variations for Violin, where for a brief passage, two flutes are doubled at a tritone. Ex. 254. Variatiqng for Piano, meas. 385-87. 49’” " ' ' ‘ ‘ ‘I . ' " b' l’l.‘ 209 As was the case with woodwind Brass Doublings. instruments, two or more like brass instruments are often doubled. Horns are used in this manner in all five of the works. The doubling is usually in unison or octaves, but some instances of melodic doubling are found. Ex. 255. Music for Orchestra, meas. 52-54. Ex. 256. Variations for Piano. meas. 410. 4. HM. ; 3 q The melodic doubling of trumpets is rare. In Example 257, the three trumpets are employed in the fugue subject that appeared in Example 250 for flutes. oboes and bassoons, and in Example 255 for horns. 210 Ex. 25?. Music for Orchestra. meas. 195-96. 7015. Trans. The most common brass combinations are horns. trumpets, trombones; trumpets and trombones: and horns and trumpets. Again. the doubling is usually in unison or at the octave. with only a few exceptions. Examples 258 and 259 are two cases of these groups used in situations of melodic doubling. 211 Ex. 258. Music for Orchestra. meas. 172-76. BX. 259. Music for Orchestra. meas. 128-30. Tpls. 212 Example 258 is rather unusual for the fact that the brasses accompany a solo oboe. and in Example 259, the doubling of trumpets and trombones is in counterpoint with only the third trombone. Certain brass groups are only infrequently used for doubling. For example, trombones and tuba are used only in Symphony No. 4 and Variationgifor Piano. and always in octaves. Horns and trombones are doubled only in the symphony and Dance Rhythms. occasionally in situations of melodic doubling as was seen in some of the examples from the symphony. One brass group, trumpets. trombones and tuba. is unique to Symphony No. 4. Ex. 260. Symphony No. 4, Mvt. III, meas. 50. Woodwind and Brass Doublings. The most frequent doubling of woodwinds and brasses involves one or more trumpets with woodwinds. Each of the works has examples of this doubling. Symphony No. 4 containing 12 different combinations of woodwinds doubled with trumpets. In some cases, specific combinations appear in two works. Clarinets and trumpets are doubled in both the symphony and Dance Rhythms, 213 and oboe and trumpet doublings are used in Dance Rhythms and Music for Orchestra. A doubling of flutes. oboes and clarinets with trumpets can be found in Dance Rhythms and Variationp for Violin. These are usually unison doublings. or doublings in unison and at the octave. or occasionally melodic doublings. Ex. 261. Dance Rhythms, meas. 120-22, Other frequent doublings found in all works except the violin variations include horns and woodwinds. trombones and woodwinds. and trumpets and trombones with woodwinds. One particular combination, bassoons and trombones, is employed in three of the works. In Dance Rhythms and Variatiqnp for Piang these instruments are doubled in 214 unison. but in Example 262 from Music for Orchestra the doubling produces a passage of parallel clusters. Ex. 262. Music for Orchestra. meas. 204-06. The. A ’ ‘ E uol m b q pix eosures Vln . plzz. pizz. Vln. Synphony No. 4 and Music for Orchestra have three woodwind and brass groups in common. An English horn and bassoons doubled in unison with a horn. provide one contrapuntal line in the two-part texture of Example 263. 215 Ex. 263. Music for Orchestra. meas. 17-19. Fl. EC". Vln. Vb. Vol. 216 Melodic doubling involving the same group appears in, Symphony No. 4. Ex. 264. Symphony No. 4, Mvt. III. meas. 764-66. Bassoons and a contrabassoon doubled in unison with trombones and a tuba. comprise another combination appearing in both of these works. In Synphony No. 4, this group is used mainly for sustained notes. but in Music for Orchestra these instruments are scored for the same material given to the trumpets in Example 257. 217 Contrabassoon and tuba doublings are used in brief passages in each work S m hon No. 4. Mvt. II. meas. 31-35. Ex. 265. Music for Orchestra. meas. 219-20. Ex. 266. i: 218 Variatignp for Pianp and the symphony each employ Specific doublings of woodwinds and brasses which appear in none of the other works. Flutes. oboes. clarinets and bassoons are doubled in octaves with trumpets. trombones and tuba in the piano variations. Ex. 26?. Variations for Piano. meas. 424-26. (7 219 The density of the orchestration is even greater in Symphony No. 4 where six different combinations of woodwinds are doubled with the tutti brass section. In Example 268, the doubling is in octaves and appears alone in the texture. Ex. 268. Symphony No. 4, Mvt. III. meas. 650-51. Obs. E.H. Cls. an. Tuba 220 The heavily scored passage of Example 269 makes use of two parallel streams of chords in counterpoint. Ex. 269. Synphony No. 4, Mvt. I. meas. 115-20. 221 Brass and String Doublings. The doubling of string and brass instruments occurs in each work, most often in unison. but infrequently and usually in very brief passages. Symphony No. 4 and Variations for Vpplnn have two doublings in common: trombones and strings, and horns. trombones and strings. In the brief example from the violin variations. the trombone and cello doubling is in unison. Ex. 270. Variations for Violin. meas. 17-18. ‘Fvbn A somewhat more subatantial passage is seen in Example 271 from the symphony. where the trombones and double basses form a parallel stream of chords. 222 Ex. 271. Symphony No. 4. Mvt. III. meas. 247-55. Thns. Vlns. Vlc. Vcl. 223 The other doubling common to these two works is that of horns and trombones with strings. This doubling was seen in Variations for Violin in Example 124, and appears in the symphony in a contrapuntal passage with a double bass, bassoon and tuba doubling in Example 248. Horns. trumpets and strings are doubled for very short passages, as well as in more extended passages in Symphony No. 4. Ex. 272. Symphonnyo. 4, Mvt. II, meas. 58-59. V°'- fififi'h: ~— :33ng ~ '-‘” “-- ——4p:~~. . .— ‘ - 5— --Jl _ . t ' ”'5 7 — ""veG-mt‘.‘- nun-“g”.— _._._.- -‘ ~~———- l , l RM 224 hon No. 4. Mvt. II. meas. 115-18. 273. S Ex. m. _____ .I :— ______ 1: .1 . H. _._. .=x“N -' ! m . Timp. | 225 The orchestration of the piano variations includes a number of instances in which trumpets are doubled with various combinations of strings. The only other example Ex. 274. Variations for Piano. meas. 269-70. 226 of this particular doubling is found in Music for Orchestra. a single trumpet and viola in unison. Ex. 275. Music for Orchestra. meas. 64-66. owned I’,.,l, ““‘-~ fins. Tbns. Vkl The first movement of Symphony No. 4 contains three of these doublings which are not used in any of the other works. Trombones and tuba doubled in octaves with cellos and double basses is a situation found several times in the first movement. Occasionally. the tuba alone is used in the same manner. In Example 276. the horn, violin and viola doubling produces a parallel stream of chords ascending chromatically. This accompanies a more active melodic line doubled by woodwinds and strings. 22? Ex. 276. Symphony No. 4. Mvt. I. meas. 75-79. A chromatic line, ascending or descending, has been seen in previous examples as a frequent accompaniment in these Riegger works. Other Combinations Used for Doubling. All of the doubling combinations discussed so far appeared in all five works. The following are examples of combinations which have a very limited useage. Doublings involving at least one member of each orchestral family. including percussion, occur in all works except Variations for Violin. These are. however. reserved mainly for very brief passages. usually percussive tutti chords. Since Symphony No. 4 and Dance Rhythms are orchestrated for the most massive orchestral effects, 228 string, woodwind, brass and percussion doublings are occasionally used in more extended passages. A repeated rhythmic motive was doubled by bassoon. trombones, tuba, timpani and double basses in the passage seen in Example 273. The following example from Dance Rhythms shows a similar treatment of this same doubling in a thicker orchestral passage which brings the work to a close. 229 Ex. 277. Dance Rhythms. meas. 91-93. Ooh Fluio Picc FL (Mon at Hns.2 Tbls Tbns Thnp Vlns vm. Ch 230 A rare woodwind and percussion doubling is seen in Example 278 with the piccolo and xylophone doubled in unison. Ex. 278. Variations for Piano, meas. 410-12. A unison piccolo, flute and xylophone doubling imitates the viola and cello in inversion in Example 279. 231 Ex. 279. Symphony No. 4, Mvt. III. meas. 764-66. Obs 5J1 CB. lb Snag Xfl. Vms. Vb. VtL ‘_ —_—-—.. . » ---~ —— fl. _-.. *-.._._._-_. 232 One further example of a doubling unusual to these works is seen in Example 280. The marimba is doubled with the violins and violas. Ex. 280. Dance Rhythms. meas. 112-13. Mo r. Vlns. Vlc. Vol. Ob. SUMMARY £239. The formal organization of these Riegger works is based on traditional two and three-part forms and fugal procedures. The structure of Dance Rnythms is reminiscent of the third movement of a Classic symphony. complete with a trio and a da capo bringing back the entire first section. The fugal procedures in Music for Orchestra are, of course, somewhat altered from the traditional fugue. Melodic doubling and various timbres and registers. without the element of key contrast. are responsible for making each subject entry distinctive. Variations for Piano and Variations for Vip;;n_are formally organized on two levels. The variation procedure itself is of formal significance, and in addition to this. each variation contains the elements of unity and contrast provided by binary form. Only Variation XII of the piano variations is different in that it contains a completely develOped fugue. . The first movement of the symphony is strongly influenced by traditional sonata allegro form. Movement II is a large three-part form. the third part being a return of the first. The last movement isia two-part form preceded by an introduction and followed by a coda. Serial Technigues. Music for Orchgstra. Variations for Piano and Variations for Violin are constructed with 12-tone rows. Riegger used atonal rows that do not outline 233 234 melodic patterns which might imply traditional harmonic formations. He avoided these formations by ordering his series so that major and minor seconds are the most frequent intervals. thereby eliminating tertial chords. The tone rows are employed in a horizontal manner almost exclusively. Instances of chords comprised of vertical row segments are extremely rare. The appearance of the row in Variations for Viol;n is usually in successive complete statements. most frequently of the original and inverted versions.. The same version is used against itself in canonic passages. and occasionally two or more different versions are employed simultaneously. Some segmentation of the row takes place: that is,consecutive segments of the row are stated by different instruments. Also, the horizontal-vertical method of deployment appears, but these last two methods are only rarely used. All of these serial techniques are used with very few octave displacements or transpositions of the row. The row in Variations for Pnnnp,again appears most frequently in complete statements of the original and inverted versions. Unique in this work. however. is the fact that octave displacements are frequently used. The deployment is similar to that in the violin variations. in that the same version is used for different lines in counterpoint, and two different versions are sometimes used simultaneously. Transpositions of any of the four basic versions of the row are again only rarely used. 235 Riegger's techniques in Music for Orchestra differ in several respects from the other two works. In this case. he worked with row fragments as well as complete statements, and tranSpositions are commonplace. Parallelisms involving as many as seven different transpositions of the same row or fragment are a prominent feature of the work. Octave displacement of the row members is rare. occurring in the few passages in which the row is deployed by the horizontal- vertical method. Symphony No. 4 is an atonal work. but it is not constructed with strict serial procedures. Areas of "free tonality" can be found: that is, areas in which a tonal center is established by means other than functional harmony.2“ Rhythm. The element of rhythm is a vital factor in Riegger's music. His use of tempo to produce unity and variety, varies with each of these works. Dance Rhythms is set at 120 beats per minute and procedes at that rate during its entire course. Sudden tempo changes occur in Music for Orchestra, but only within a range of 60 to 100 beats per minute. The symphony makes use of tempo as a contrasting element over the entire work as well as within the separate movements. The tempo of Movement I is 112 beats per minute with only a few variations, but tempo variation is a notable feature of 24. Leon Dallin, Techniques of Twentieth Centuyy Composition (Dubuque. Iowa: Wm. C. Brown Co.. 1964). p. 45. 236 the second movement. The third movement has the widest tempo range, 60 to 120 beats per minute. In each case, the tempo factor in the two sets of variations is exploited in much the same manner. Each variation is set at a different tempo from the one which precedes it, and for the most part. there is little deviation within the sections. The difference between the two works is in the tempo extremes. Variations for Violin has a range of 88 beats per minute, from 56 to 144, while the tempo in Variations for Piano varies from 60 to 240 beats per minute. This 180 beat tempo range is the greatest of all the works. Changing meters is a common Riegger technique. Most changes occur between simple meters. and in some instances a measure to measure alternation is used. The meter is changed for each variation in Variations for Viglnn and Variations for Piano. Each section in the violin variations is usually in one meter, and only one section is in compound time. The individual sections in the piano variations, however, frequently contain changing meters. The symphony, MEEAC for Orchgstra, and the piano variations each contain sections in which simple and compound time occur simultaneously. Borrowed divisions of the beat are occasionally used against the normal division in these same three works. In all five works. an energetic, driving rhythm interrupted by frequent syncopations is a vital element to the music. Z37 Harmonic Structures. Table 1 on page 247 lists the percentage of occurrence for each structure used. The structures used in areas of parallelism are disscussed separately. It is quickly seen that two-note structures are an important element in Riegger's harmony. Consonant intervals are the most frequent in the symphony, Music for Orchestra, and Dance Rhythms, but in Synphony No. 4 dissonant intervals appear most often in accented positions within the meter. Dissonant intervals have a higher frequency in the two sets of variations, where their use is. again. most often at points of metric stress. The relatively high percentage of triads in Dance Rhythms is as would be expected in a tonally organized work. The remaining structures are employed as occasional punctuating chords. or are used in sustained passages supporting a rhythmically active melodic line. An important factor in each of these works, and a factor which dominates the harmony in Music for Orchestra, the piano variations. and the symphony, is parallelism (see Tables 2 and 3). Parallelism was first used by Debussy to expand the concept of tonality. to increase the coloristic value of harmony and reduce it functional effect.25 When used with the 12-tone technique. parallel chords or ”multiple parallelisms" serve to preserve a more conventional harmonic feeling.26 25. Ibid.. PP- 98-99- 26. Brindle. 2p. ElE-v pp. 83-84. 238 As shown in Table 2, Symphony No. 4 contains a particularly rich variety of parallelisms. Quartal structures and tone clusters seem to have been Riegger's favorites to use with this technique. with streams of parallel intervals being important to Music for Orchestra and the two sets of variations. Cadences. Apel's definition of a cadence as a "melodic or harmonic formula which occurs at the end of a composition. section. or phrase. conveying the impression of a momentary or permanent conclusion."27 will serve as a definition for the cadences in these Riegger works if one adds the element of rhythm to the factors involved. The cadences in angg Rhythms exhibit traditional harmonic formulas and voice leading. The remaining works. not being tonally organized, involve other means of achieving satisfying cadential effects on various beats or parts of the beat within the meter. The interruption of the rhythmic drive is especially important at cadences. This is accomplished in a variety of ways. including tempo changes. meter changes, the introduction of rests. and the lengthening or shortening of note values. Other techniques of producing a cadential effect are also used. A change in the orchestral texture. in conjunction with the other techniques. is often employed at a cadence. This may involve a full orchestral chord at the end of a solo phrase. or several solo notes at the end of an orchestral passage. 27. Apel. pp. cit.. p. 108. I" . 239 Occasionally the music simply stops without any definite melodic. harmonic. or rhythmic preparation. These "non- 28 are frequently found in percussive cadential endings" passages. It is important to view all cadences within the context in which they are used. They are believable endings to musical ideas only in connection with the entire musical passage they bring to a close.29 Textures. Music for Orchestra. Variations for Piano and Variations for Violin are contrapuntally conceived, and Symphony No. 4 and Dance Rhythms are primarily homophonic. Monophonic textures. solo passages, were used sparingly by Riegger. Table 4 on page 250 shows the percentage of each work in which these textures are used. A few passages can be found in free counterpoint within these works. but for the most part. Riegger used imitative devices. These include motivic imitation. canonic imitation. fugato sections. and completely developed fugues in 52322. for Orchestra and the piano variations. Riegger's homophonic writing encompasses a variety of traditional accompaniment patterns adapted. of course. to his non-traditional harmonic practices. Animated chords. ostinato patterns. and even the Alberti Bass technique are all used. The most common accompaniments include pedal tones and chords, 28. Dallin, pp, cit.. p. 134. 29. Ibid.. p. 128. 240 sustained and repeated, and chorale-like textures. In some cases, the accompaniment is very sparse, exposing the melodic line to the point where it assumes a soloistic character. Synphony Nos 4 contains the greatest variety of solo passages. although this texture comprises higher percentages of other works. In Music for Orchestra and the piano and violin variations. solos are scored most often for woodwind instruments as are most of the more exposed passages. The solo parts in Englations for Piano and Variations for Vigl;n are idiomatic and technically demanding. adding the element of virtuosity to the performance of these works. The melodic motion of the individual lines in all of these textures varies with each work (see Table 5. page 251). Dance Rhyphms and nnnyc for Orchestra contain the most conjunct voice leading and the most lyrical melodic lines. In Variations for Piano. Riegger used a much more disjunct melodic style. Sustained notes are an important melodic feature in the symphony and the violin variations. Orchestration. The instrumentation of these works is traditional. Table 6 on page 254 indicates the frequency of use of the instruments in each case. The cellos are the instruments which appear most. although in Variations for 21222 the use of strings is fairly balanced. Of the woodwinds, the clarinets are the most frequently used in Synphony NoI 4 and Dance Rhythms. and flutes are especially important in Music for Orchestra. The use of woodwinds is proportionately balanced in the two sets of variations, as is the case with 241 the brasses in all of the works. In terms of frequency of use, the percussion family is significant only in anpg Rhythms. The pitch ranges, as shown on page 255, Table 7, are not extreme in any of the five works. The widest oboe and trombone ranges are found in gnpggtions for Piano. and the range for the contrabassoon is the same in both Music for Orchestra and the symphony. At three octaves and a major sixth, the Solo in Variations for Violin is scored for the widest range of any instrument in all the works. The widest ranges for all of the remaining instruments, as well as most of the extreme high and low pitches. appear in Symphony No. 4. Riegger used string harmonics only in the violin variations where they appear in the first violin, cello and solo violin parts. Each work features different instrumental combinations. A tutti orchestral texture is frequent in Dance Rhythms, and combinations including percussion instruments are also important. Much of Variations for Piano is scored for piano with strings. and in the violin variations, the most frequent combinations involve the Solo with strings, and the Solo with strings and woodwinds. Symphony No, 4 and Music for Orchestra are both predominantly scored for combinations of strings and woodwinds. and strings. woodwinds and brasses. The last of these is especially important to HEElE for Orchestra. Table 8 indicates the frequency with which each combination is used. 242 Doubling. The two tables concerned with doubling. Tables 9 and 10. indicate the extent to which the technique was used and the instrumental combinations involved. The orchestral doublings common to all of these works are strings, woodwinds, brasses: and strings and brasses. String doublings are the most frequent of all. and the woodwind combinations of flutes, oboes and clarinets: and clarinets and bassoons are found in each work. Other frequent doublings include woodwind and string combinations: string. woodwind and brass combinations in Dance Rhythms: brass doublings of like instruments. eSpecially horns: and woodwind and brass combinations. often trumpets and woodwinds. CONCLUSIONS The following conclusions concerning Wallingford Riegger's later orchestral style have been drawn from the analysis of the five works selected. zppn l. The formal organization of Riegger's music is based upon traditional two and three-part forms and fugal procedures. 2. The 12-tone row, when it is employed, is a significant factor in melodic unity. R thm 1. Tempo changes tend to occur suddenly, and usually between major sections of the music. A 2. SyncOpation is a vital element in the composer's rhythmic designs. 3. The technique of changing meters is frequently employed, usually involving alternating simple time signatures. 4. Borrowed divisions of the beat are often used, and occasionally simple and compound time signatures are used simultaneously. We 1. Intervals are important to Riegger's harmony. a. Consonant intervals have the highest frequency. b. Dissonant intervals are most often metrically and melodically accented. 21.3 244 2. Tertian chords. from triads to thirteenth chords, are used. a. Triads with seventh and ninth chords have the highest frequency. b. These structures often appear as chords of omission and addition. 3. The non-tertian structures include quartal. quintal. and cluster chords. 4. Parallelism is an important element in the construction of this music, especially the multiple parallelisms resulting in streams of chords. a. The parallel tertian chords used with a lZ-tone technique create a conventional harmonic feeling. b. Quartal structures and tone clusters are most frequently used with this technique. Cadences 1. Traditional cadential formulas are used. often employing modified dominant and tonic chords. 2. The non-traditional cadences are dependent upon other than harmonic means for their effectiveness. a. Rhythm is a vital element in these cadences. b. A change in orchestration and dynamics frequently aids in making these non-traditional cadences effective. ans Textures l. Contrapuntal textures employing imitative devices are used with the highest frequency in these works. 2. The homophonic textures include traditional accompaniment patterns adapted to non-traditional harmonic practices. 3. Solo passages are most frequently scored for woodwinds. 4. The melodic motion in this style is predominantly conjunct. a. Chromatic motion is especially frequent. b. Sustained notes are often an important factor in the part of any individual instrument. Orchestration l. The instrumentation of these works is traditional. a. The normal complement of strings. paired woodwinds. four horns. three trumpets and trombones, and a tuba comprise the standard orchestra for these works. b. The English horn. bass clarinet and contra- bassoon are used occasionally. c. The percussion family of instruments is used only incidentally. 2. The ranges of the individual instruments are not extreme, and often the highest and lowest possible pitches are not exploited. 246 3. Strings are usually included in the orchestral texture, and woodwinds are also important. a. The brasses are frequently used in combination with strings and woodwinds. rarely appearing alone. b. Percussion instruments are only infrequently part of the instrumental combinations. 4. A high percentage of the orchestration involves doubling. a. String doublings occur with the highest h Esq-15.2mm” I . I frequency. .9 b. Doublings of flutes, oboes and clarinets: and clarinets and bassoons are common to all of these works. TABLE 1. Intervals, Consonant Dissonant Triads 7th Chords 9th Chords llth Chords 13th Chords Quartal Chords Quintal Chords Tone Clusters *The following abbreviated titles will be used throughout the tables: 41% 32 less than MO. VP. DR. S4. VV. 40% 52 less than 43% 18 23 less than thms 34% 29 10 12 less than less than Music for Orchestra Variations for Piano Dance ______IQHL____ S m hon No. 4 Variations for Violin A tabulation of harmonic structures, excluding those used in parallel streams.* 31% 39 TABLE 2. Harmonic structures used in parallel streams.* 1:12 2.13. .123. .81: ml. Intervals 13 34 7 l4 Triads 6 4 44 3 7th Chords 5 5 12 8 9th Chords 8 19 2 11th Chords 4 2 ll 2 13th Chords 2 Quartal Chords 17 10 82 14 Quintal Chords 1 6 3 Tone Clusters 19 24 32 22 *The figures indicate the number 9f instances in which each structure was used in a parallel stream of chords. 248 TABLE 3. The percentage of each work Music for Orchestra . . . . . . . . Variations for Piano and Orchestra. Dance REE! tm O O O O O O O O 0 O O SiszhonI! N0. 4. o o o o o o o o o 0 Variations for Violin and Orchestra 249 containing parallelism. ....83% ....48% ....242 ....60% ....34% TABLE 4. Textures. Contrapuntal Music for Orchestra Variations for Piano Dance Rhythms Symphony No. 4 Variations for Violin 71% 59 16 42 46 250 Homophon c ‘_:- 27% 27 68 51 46 Monophonic 2% 13 16 TABLE 5a. Melodic motion--conjunct. Piccolo Flutes Oboes English Horn Clarinets Bass Clarinet Bassoons Contrabassoon Horns Trumpets Trombones Tuba Violins Violas Cellos Double Basses 61 49 77% 87 83 90 IE 58 71 72 65 an; 44 32 47% 37 29 pg 82% 9O 94 89 54 76% 81 43 47% 66 33 251 39% 50 53 69 59 42 59 29 42% 56 40 44 45% 45 to 31+ VV 42% jun 40 51 _.J' in v. _. l 49 14 63% 5o 46 33 61% 66 30 21+ TABLE 5b. Melodic motion--disjunct. Piccolo Flutes Oboes English Horn Clarinets Bass Clarinet Bassoons Contrabassoon Horns Trumpets Trombones Tuba Violins Violas Cellos Double Basses 32% 17 19 18 10 25 11% 51% 54 38 VP 39% 33 22 20 28 23% 42 48 64 42% 51 56 68 pg 18% 10 44 13% 19 52 53% 34 67 92 252 36% 30 23 14 20 43 20 15 24% 21 37 37 28% 22 24 31 W 39% 3O 42 3O 26 28 17% 21 3o 24 a“, “1, a .1... TABLE 50. Melodic motion--sustained notes MO yr; pg _s__4 vv Piccolo 14% 0% 0% 25% 19% Flutes 17 9 O 20 26 Oboes 18 7 O 24 18 English Horn 22 17 Clarinets 21 7 4 21 19 Bass Clarinet 15 Bassoons 29 7 2 21 25 Contrabassoon 25 56 58 Horns 12% 33% 11% 39% 37% Trumpets 6 l4 0 23 50 Trombones 9. 20 5 23 5O Tuba . 10 32 19 33 Violins 8% 11% 0% 27% 22% Violas 8 12 0 33 13 Cellos 8 15 O 36 40 Double Basses 19 27 2 35 52 253 TABLE 6. Piccolo Flutes Oboes English Horn Clarinets Bass Clarinet Bassoons Contrabassoon Horns Trumpets Trombones Tuba Violins Violas Cellos Double Basses Solo Violin Solo Piano Timpani Snare Drum Cymbals Bass Drum Tam-Tam Harp Xylophone Marimba Glockenspiel 12. 3% 26 25 29 11% 10 51% 48 45 17 65 l—‘UIN? ‘oQ H 42% 38 72% 99 58 16% 20 22 l6 l4 13 Orchestration--use of instruments.* $.31 15% 43 43 21 49 10 no I-' pruxoo yy 10% 22 22 18 22 7% 10 19% 21 28 15 92% c- )8 U1 NNN *The figures indicate the percentage of the entire work in which each instrument is used. 254 TABLE 7. Orchestration--Ranges.* Plea. EM. a a *The pitches appearing on this table indicate the written range for each instrument. 255 TABLE 7. Orchestration--Ranges (continued). MO *1 VP DR ‘1 I» $ 2 IF 256 TABLE 7. Orchestration--Ranges (continued). 257 TABLE 7. Orchestration--Ranges (continued). 258 TABLE 7. Orchestration--Ranges (continued). 259 TABLE 8. Orchestration--Instrumental combinations.* MQEQEEEYI Strings 9% 37% 10% 17% 25% Strings & Woodwinds 26 ll 12 23 26 Strings. Woodwinds & Brasses 22 ll 6 20 7 Strings. Woodwinds. Brasses & Perc. 12 2 26 5 2 Strings, Woodwinds & Perc. 1 1 4 3 1 Strings & Brasses 7 1 4 6 7 Strings. Brasses & Perc. l 3 1 Strings & Perc. 3 1 12 2 6 Woodwinds 3 13 2 13 6 Woodwinds & Brasses 13 l 4 4 Woodwinds, Brasses & Perc. l l l Woodwinds & Perc. l l 1 Brasses 2 ‘3 2 Brasses & Perc. 2 1 l Percussion 2 1 1 Strings, Woodwinds, Brasses & Harp 4 Strings. Woodwinds. Perc. & Harp 1 Strings. Perc. e Harp 3 Woodwinds. Brasses & Earp 2 Harp 5 Strings a Harp 9 Strings. Woodwinds & Harp 1 Solo instrument l4 8 *The figures indicate the percentage of the work in which each combination is employed. 260 TABLE 9. Orchestration--The percentage of each work containing doubling. Music for Orchestpn. . . . . . . . . . . . . . . . 95% Variations for Piano and Opchestra . . . . . . . . 76% Dance Rhiz thm O O O O O O O O 0 O O O O O O O O O O 89% 3:! 111211032! No a a O O O O O O O O O O O O O O O O O O 86% Variations for Violin and Orchestra. . . . . . . . 44% 261 151.! .“"I TABLE 10. Orchestration--Instrumental combinations used for doubling.* 2121.223 .5111. Strings 40% 36% 30% 33% 16% Strings a Woodwinds 6 4 4 8 l4 Strings. Woodwinds & Brasses 3 2 l4 3 9 Strings. Woodwinds. Brasses & Perc. 2 1 4 2 Strings. Woodwinds a Perc. 1 Strings & Brasses 2 l l 2 4 Strings. Brasses & Perc. 1 Strings e Perc. 2 1 Woodwinds 19 15 19 22 16 Woodwinds & Brasses l3 5 13 13 2 Woodwinds, Brasses & Perc. 1 l Woodwinds & Perc. 1 l Brasses l4 4 8 10 6 Brasses & Perc. 1 1 Percussion 2 1 Strings. Perc. & Harp 2 Strings. Woodwinds & Earp 1 Strings & Harp 7 Solo Instrument 31 25 *The figures indicate the percentage of the total doubling in each work. BIBLIOGRAPHY W Cowell. Henry. 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