Narrowing the Scope

About a week ago I had described a musical idea that stuck in my mind as I was listening to a piece by Webern.  I began sketching this idea and I became attached to it.  Well, as I have been working on this quartet, I have been trying to focus on the scope of this piece.  What is my overall structure?  Will this be a multi-movement or a single-movement piece?  What kind of sound world do I wish to create?  I decided that this will be a single-movement work.  This decision is in large part because many of my recent works have been multi-movement.  I want to challenge myself to write a longer piece in a single movement.

With this decision, I have had to look at the varying sketches I have created.  Some will work in this piece, however some will not.  The sketch mentioned above fits into the latter category.  The idea is solid, but it is not suited to work in the structure and sound world I have created.  Most likely, I will be using this musical idea in my flute, cello and percussion trio, Off you go...  This is a multi-movement work I began in 2003 of which one movement has been completed.  This piece may receive further discussion in a future post as it is a very important piece to me.

The point of this entry is that I have finally narrowed down the scope of this piece.  I have gone back and forth lately on whether this is a single-movement or multi-movement piece.  Since I have now figured out my direction I may go back and review the sketch score and see if revisions may be necessary.

Listening Journal: November 17-23, 2008

Burton Beerman - Misogamy (1969) for string quartet and tape

John Cage - Amores I - IV (1943) for prepared piano and 3 percussionists

Eleanor Cory - Epithalamium (1973) for solo flute

Richard Browne - Reri velocitatem (1962) for soprano, alto and baritone saxophones

J. S. Bach - Concerto for violin, strings and continuo in E major BWV 1042 (1730), Hilary Hahn, soloist

Frank Retzel - Schism I (1975) for string quartet

Karol Szymanowski - String Quartet No. 2, op. 56 (1927)

Igor Stravinsky - Concertino (1920) for string quartet

Toru Takemitsu - Quatrain (1975) for clarinet, violin, cello, piano and orchestra

Toru Takemitsu - A Flock Descends into the Pentagonal Garden (1977) for orchestra

Toru Takemitsu - Stanza I (1969) for mezzo-soprano, guitar, harp, vibraphone and piano/celesta

Toru Takemitsu - Sacrafice (1962) for alto flute, lute, vibraphone and antique cymbals

Toru Takemitsu - Ring (1961) for flute, terz guitar and lute

Toru Takemitsu - Valeria (1965/69) for 2 piccolos, violin, cello, guitar and electric organ

Igor Stravinsky - Three Pieces (1914) for string quartet

Igor Stravinsky - Double Canon (1959) for string quartet

Brett Wartchow - Nocturne (2004) for string trio

Iannis Xenakis - Herma (1961) for piano

Anton Webern - Variations, op.30 (1940) for orchestra

Edgard Varése - Offrandes (1921) for large ensemble

Listening Journal: November 10-16, 2008

Toru Takemitsu - Folios I - III (1974) for guitar

Anton Webern - Passacagalia, op. 1 (1908) for orchestra

Anton Webern - Drei Kleine Stücke, op. 11 (1914) for cello and piano

Max Bruch - Romance in F major (1911) for viola and orchestra

Toru Takemitsu - Rain Spell (1982) for flute, clarinet, piano and vibraphone

Anton Webern - Sechs Stücke, op. 6 (1928) for orchestra

Multiple streams

Before I sat down to compose today, I was listening to Anton Webern's Passacaglia, op. 1.  While listening, this musical idea came to mind.  The idea is a variation of a motive I heard.  It is not a melodic idea as much as an accompanimental idea.  So, of course, my mind would not let it go.  I worked with it and played with it tonight.  I composed a melodic line that can go with it and I will probably spend time developing it in the coming days.

I noticed that there are similarities in this idea with another that I have briefly worked on.  Unfortunately, the material I composed tonight has no immediate connection with the introduction I am working on.  However, I do believe that they can all be a part of a larger piece.

I have toyed with the idea of composing multiple movements.  Right now, I am more interested in composing a larger single-movement work.  As I work on these various sections I do need to keep looking at how they all relate, in order to compose a cohesive piece.  I do not want to give this piece a patchwork feel, by forcing these ideas together.

Listening Journal: November 3-9, 2008

György Ligeti - Ten Pieces for Wind Quintet (1968)

György Ligeti - Ramifications (1969) for 12 solo strings

György Ligeti - Cello Concerto (1966)

Witold Lutoslawski - Concerto for Cello and Orchestra (1970)

György Ligeti - Sonata for Cello Solo (1953)

Witold Lutoslawski - Grave: Metamorphosis for Cello and Strings (1981)

George Crumb - Four Nocturnes (Night Music II) (1964) for violin and piano

Kaija Saariaho - Sept Papillons (2000) for solo cello

Olivier Messiaen - Catalogue d'Oiseaux: Book 3 (1956-58) for solo piano

Karlheinz Stockhausen - Klavierstücke: Pieces 1-5 (1-4, 1952; 5, 1954) for solo piano

Arvo Pärt - Tabula Rasa (1977) for 2 violins and orchestra

Arvo Pärt - Collage über BACH (1964) for orchestra

Arvo Pärt - Symphony No. 3 (1971)

A progression of sketches

Sketch Score 11/6/08

Outline Sketch 11/6/08

Sketch Score 11/5/08

The three images above are a few of the sketches from my composing sessions on November 5th and 6th.  There are two sketch scores and one outline sketch.  The outline sketch bridges the two sketch scores.  All of these sketches focus on the same opening group of measures.  The sketch score dated 11/6/08 is the current revision of this section.  The first four measures did not change.  Measures 5 and forward were subject to the revision.

When I started to think about this piece on November 6th, I decided that the septuplet figure and even the quintuplet figure would not create the desired effect.  These are the ideas I referred to in my last post as needing an instrument that resonates.  So, as I was thinking about it, I began to work on the outline sketch.  I figured that there should be some counterpoint.  I got rid of some of the figurations and reworked the section so that the pace and texture are more like the first four measures.

My intent here is to illustrate how I got from the first sketch to the current one.  The third staff system of the outline sketch is where the reworking begins.  The small sketch at the top of the page is incorporated in measure 13 of the outline sketch.  It is not seen in the sketch score because this page only goes up to measure 12, so it will be on the next page.

Fleshing out ideas

The past two days have been productive composing days.  I have been trying to figure out the opening texture of the piece.  I have been working with a couple of ideas.  To see one of the ideas, please see my October 31st post.  What I consider the opening of my flute quartet is starting to come together.  I am not to the point yet where I am finished fleshing out the ideas.  However, the basic structure for this section is there.

I will admit that I have struggled with this.  I think part of my problem was that some of the gestures were not idiomatic for the instrument.  Some of these are ideas that I really like and I wanted them in this piece.  However, I believe that some of the gestures would work better with instruments that sustain, like a piano, or resonate, like a glockenspiel.  Unfortunately, at this time, I am not working with those instruments.  I found that I needed to work with ideas that are more suited for a quartet of flutes.

I can say that I am able to see this piece taking shape and that pleases me.

Listening Journal: October 27-November 2, 2008

This week I listened to a wide variety of music.  Some of it was orchestral, some was chamber.  Even the style of music had a wide range from avant-garde composers like Boulez to more conservative composers like Szymanowski.  I believe that keeping an open ear and listening to may different styles is important for composers.

The one rare thing I did this week was I listened to one of my pieces.  I listened to Images for flute, xylophone and piano which I composed in 2000.  I do not really go back and listen to my music much, unless it is a recent piece that I just had performed or a piece I was looking at revising.

Here is my listening journal for October 27-November 2:

Pascal Dusapin - Hop' (1984) for 4 x 3 players*

Brian Bice - Images (2000) for flute, xylophone and piano

Magnus Lindberg - Clarinet Concerto (2002) for clarinet and orchestra

Karol Szymanowski - String Quartet No. 1 (1917)

Einojuhani Rautavaara - Isle of Bliss (1995) for orchestra

Pierre Boulez - Eclat (1965) for 15 instruments

Witold Lutoslawski - Lacrimosa (1937) for soprano, choir and orchestra

* The instrumentation for Dusapin's Hop' is 4 groups of 3 instruments, each group consisting of 1 stringed instrument and 2 winds.