CC BY
9DOI: 10.26086/NK.2019.52.2.011 УДК78.03
© Браунесс Леопольд, 2019
Венский университет, профессор (Вена, Австрия), Высшая музыкально-театральная школа им. Ф. Менделъсона-Бартолъди, преподаватель теории музыки (Лейпциг, Германия), Консерватория им. И.М. Хауэра (Винер-Нейштадт), преподаватель E-mail: leo.brauneiss@chello.at
СИМВОЛИЧЕСКИЕ ЭЛЕМЕНТЫ И СТРУКТУРЫ В СТИЛЕ TINTINNABULI
Tintinnabuli достигает высокой степени сверхиндивидуальности, организуя сверхиндивидуальный ранее существовавший простой звуковой материал триады. Подобным сверхиндивидуальным образом специфический заранее составленный набор правил обеспечивает индивидуальность, а также разнообразие единой композиции в очень ограниченных условиях. Это означает, однако, что символическое значение музыки должно быть заключено в структуре. Сама ладовая система во всеобщем понимании является символом взаимосвязи низкого уровня с уровнем верхним (земля, подземный мир и нечто за пределами земли, небеса). Различные презентации, разработки, изменения и комбинации ладов сообщают музыке дополнительные смыслы. Определяя индивидуально значимую структуру, стиль tintinnabuli снова преодолевает дихотомию структуры и символического содержания, сохраняя «надиндивидуальную нейтральность».
Ключевые слова: Tintinnabuli, Арво Пярт, символические музыкальные структуры, новая тональность, минимализм
© Brauneiss Leopold, 2019
University of Vienna, lecturer in music theory (Vienna, Austria), University of Music and Theatre "Felix Mendelssohn Bartholdy", lecturer in music theory (Leipzig, Germany), Music School ''Josef Matthias Hauer",piano teacher (WienerNeustadt) E-mail: leo.brauneiss@chello.at
SYMBOLIC ELEMENTS AND STRUCTURES IN TINTINNABULI STYLE
The tintinnabuli achieves a high degree of neutral supra-individuality by organizing the supra-individual préexistent simple tonal material of triad in a similar supra-individual manner: a specific pre-arranged set of rules ensures the individuality as well as the variety of a single compostion within the self-mposed very limited conditions. This means however that the symbolic meaning of the music has to be incorporated in the structure. The scale itself is in universal understanding a symbol of the interconnection of a lower level with an upper level (earth and something beyond earth, either heaven above or underworld). Different presentations, elaborations, alterations and combinations of scales add further symbolic layers. By choosing in this way an individual meaningful structure the tintinnabuli style once again overcomes the dichotomy of structure and expression in a unique way.
Key words: Tintinnabuli, Arvo Part, symbolic musical structures, new tonality, minimalism
I
If we accept the hypothesis that a technique and style of composition is a solution to a set of problems that must be revealed if we are to profoundly understand the music, the tintinnabuli style can be seen as a solution to the problem of how to organise the basic tonal elements of scale and triad, and how to achieve variety within these very limited conditions. To preserve a 'supra-individual neutrality' — a term Part himself used to describe the character of tintinnabuli pieces — of scale and triad, the method of organising them as well as the variety of their application
needs to be 'supra-individual' too. This means that they should not result from individual decisions or alterations of a system, but from a pre-arranged set of rules. These rules must ensure the variety as well as the individuality of a particular composition in a systematic way.
Thus, finding the right system for each work primarily means that it should lead to a satisfying disposition of the single voices and consequently to a well-sounding progression of chords. In other words: due to the specific set of rules, each single composition is an individual interpretation of the su-
pra-individual, omnipresent elements of scale and triad which are the basis and common denominator of all pieces. On the one hand this is reminiscent of the practice of "early music" — writing music by embellishing a pre-existent cantusfirmus, a manner which is radicalised in the tintinnabuli style: here — with some exceptions — the source is not a specific melody, rather is the mode itself the melody. On the other hand, the choice of re-interpreting the old tonal material in a new way — material that over the course of the centuries up to the beginning of 20th century had survived so many stylistic changes — instead of searching for new material, is a way of thinking and an attitude towards historical development and time in general that is comparable to theological way of thinking: a constant re-interpretation of unchangeable and sacrosanct eternal truths to suit the specific conditions of different ages. Of course, both aspects have been intertwined from the very beginning, as the sacrosanct truths are musically presented in the musically sacrosanct Gregorian Chant to which composers have consistently referred. However, as Part — with some rare exceptions — does not refer to a Gregorian cantusfirmus as a musical as well as theological reference point, he refers to the text itself. Of primary importance is the structure of the text, the number of syllables of each word or each verse, the accents or the metre and the syntax. It is obvious that in a such tightly-woven music there is no place for individual interpretation of single words through rhetoric figures. An interpretation of a given text and symbolic meaning in the music in general is thus incorporated into the structure itself. To choose the right structure thus means finding a network of rules resulting in a specific structure and sound with specific expression and possible symbolic meaning.
Ex. l
The scale itself can be understood as a symbol of the interconnection of a lower level with an upper level (earth and something beyond earth, either heaven above or an underworld, Hades, Orcus or the region of death below). This is even more obvious when you consider the German term for scale "Tonleiter" (ladder of notes). Enzo Restagno associated the scale with the biblical allegory of the Jacob's ladder, he dreams of a ladder, which connects earth and heaven and where angels are constantly climbing up and down. This is of course a very common association and needs to be specified. At least we need to distinguish between the ascending and descending movements which clearly predominate in Part's oeuvre. The dies irae section of Part's composition Miserere is one of the simplest presentations of the descending scale which leaps back to higher octaves at certain intervals in accordance with the text: Part set the first seven stanzas of the dies irae sequence to music and concluded with a repetition of the first stanza, so there are 8 stanzas altogether, each of them with three verses of eight syllables (Ex. 1).
It is important to note that the number of syllables corresponds to the seven different notes of a scale plus the first note an octave lower, if you adhere to a strict syllabic setting: the first relationship between text and music is thus a simple mathematical one. At first at the beginning of each verse, the scale leaps back to the higher octave and begins another descending scale one tone below the first note of the preceding verse, the first one starting with the tonic. The situation is, however, not that simple: at every second stanza starting with the first an extra note is added by prolonging the last accented syllable with a two-note melisma.
Ex. 1 8
24 + 1= 25
o •
Di - es j - rae. di - es ii - ]a sol-vet sae-dum in fa-vtl-la; te-sle Da-vid cum Sl-hil - la. +24 = 49 = 7*7 _ __2. degree
f—- fi> O....... a—e— r-O........ a—e—a— a—o a
=9 T " f " J
Quan-lus tre-mor est - 111 - ill- quan-do : : - d;.'\ est \v:; - :;: - cun - eta stri - cte di. - n: - - ru-
As every stanza has 3x8=24 syllables, this means that two stanzas together have 24+24+1 syllables, altogether 49 = 7x7, which corresponds to the seven different notes of the scale within an octave. The third, fifth and seventh stanza then start again with the tonic, and the movement in the second, fourth, sixth and final eight stanza stops on the second degree of the scale. According to the disposition
of the vocal parts, the eighth stanza should end in the same way as the fourth one. However, if you compare the last bars, you will notice that Part strictly followed the system in the fourth stanza with tin-tinnabuli-voices in first position below the melodic movement, but made exceptions at the end of the section, switching to the first position above, apparently to conclude with the harsh dissonance B/C (Ex. 2).
Thus, a symbolic meaning is to be found in the texture and the melodic movement: the negative downward movement represents the frightening inferno of the finaljudgement, the day of wrath. The harsh sound of woodwinds, brass, perennially connected with the threat of damnation and hell, electric guitars, organ and percussion contribute to the intimidating expression, serving as a contrasting background for the main theme of the work: guilty mankind's plea for mercy.
On the other hand, there is symbolic significance in the way Part makes exceptions from the otherwise strictly obeyed rules: in order to close with a sharp dissonance resonating lingeringly in the following general pause. The combination of B/C, however, serves as a bridge between the a-minor of the dies irae section and the following verse of Psalm 51 in f-minor, the melodic movement starting with c — the central note of the melodic movement — B, the altered fourth degree.
Ex. 2
iu. - di ' uan. - lL re - spy« - su ■ гд.
-\ \ -I
iu - di - can - tr rt - apon - su - га.
rc - spou
■s- -o-
sn - та.
le - stc Da - vid cuín Si - fcil - ía, -t +1
Ш
ft
tc - stc Da - vid cum Si - Ы1 - la.
cum Si
Ы1 - Га. -I
re - spon
su - ra,
Bsolo
Ш
/Т>
ш
№
There is however a third level of symbolic meaning: The work concludes with the eighth stanza of the dies irae, pleading again for mercy (save me, ohfont of mercy). Complementary to the descending movement in the dies irae, we have a positive ascending vocal movement in the opening key e-minor without brass and woodwinds, ending in a conciliatory fashion after 3x8 = 24 syllables and notes with the third of the tonic triad g: The salvation that the text is pleading for is already reality in the music, and this ending all the more peaceful in that it is of a similar but complementary structure to the dies irae section (Ex. 3). Passio
and Le Sindone both have a similar framework of descending — and ascending movement. The upward movement at the beginning of the Passio is, however, without symbolic connotations, serving as a neutral introductory setting of the title: Passio domini nostri Jesu Christi secundum Johannem. Note that a simple number again plays an important role: The title consists of seven words, each of them sung on one of the seven notes of the descending a-minor scale starting with the tonic and thus ending again with an imperfect cadence on the second pitch, answered by the tonic of the vocal line of the basso (Ex. 4).
Ex. 3
Шъ SE 1 - V i 1С fons p- pi с la tis. .......p.. ..........
"g 4 S,' -------------- -й t - V - j .—^— S- ie Г r foiis pi e a Г* ш
Щ 4 ¥ * % =r p m - с - [ я - tis^ Г Г F ■ ■ С 1¡ - С - a - fe. m f l' 1«
sal - va me fVms pi - с - ti - lis.
■s.' ■ s', my fans ;~¡ 1л -
Ex. 4
At the end, the ascending movement of the choir, representing a kind of coda, is again a musical representation of the mercy the text prays for: Qui passus est pro nobis, miserere nobis, Amen. (Thou who has suffered for us, have mercy on us, Amen.) This meaning is powerfully underlined by the fact that Part obtained eight words by omitting the word domine and instead adding a final amen. The movement thus starts and ends with the tonic, a triumphant perfect cadence to symbolize the anticipated victory of Christ over death at the end of the Passio (Ex. 5). The disposition of keys also
has a symbolic significance: The narrative parts of the passion are in a-minor. The coda is a kind of final breakthrough to D-major: In the end we understand that all the suffering which we thought would be everlasting is just a (minor) dominant to the final tonic D-major. As there are no chord progressions within the sections in the early strictly-woven tintinnabuli pieces, their potential for symbolic meaning shifts into another dimension, so to speak, the sequence of keys and the modulation of one key to another, characterised by the omnipresent sound of the one tonic triad.
Ex. 5
The descending scale interrupted by upward leaps in the Cantus in memory of Benjamin Brit-
ten is, as a whole, (Ex. 6).
similar to the dies irae section
Ex. 6
ja- r rtr rr rf rr nr m nrrr rir r
The different structural details are, however, important for the specific meaning: contrary to the flow of one continuous scale in the dies irae section, which is only broken by leaping back to the octave above for practical reasons, the scale in Cantus starts again and again from the tonic in high position, each time adding a note. This dynamic process of gradual prolongation has a clearly defined starting point but is virtually infinite. From the very beginning, however, we know that it will come to an end simply because of the limited range of the string instruments. At the end of Cantus all voices find their way back home to the ground of a long sustained tintinnabuli triad in lowest register. Unpredictably and inescapably each single voice will sooner or later reach this border, due to the
material limits of the instruments. Thus the structure itself is an artificial equivalent to the conditions of human life according to Christian belief: life starts with birth but we are promised an eternal life after passing the border of death which is predictable from the very beginning of our life. According to Part's own commentary, Cantus was inspired by the knowledge of the death of the British composer Benjamin Britten and is dedicated to his memory. This kind of musical act of reverence is in the tradition of Franco-Flemish composers who honoured a composer on the occasion of his death — one might mention the Deploration sur la mort de Johannes Ockeghem by Josquin Desprez. Furthermore, the descending scale can be understood as a simple example of the rhetoric
figure of Katabasis — primarily an expression of grief and sorrow. However, most important is the fact that a universal meaning, independent of specific traditions with limited comprehensibility, is anchored in the most familiar and deepest level of the music, it's structure and texture.
However, we need to bear in mind that a scale can be elaborated in different ways, chang-
ing its character and specific meaning. Compared with the neutral set of the title of Passio and the gentle movement of the strings in Cantus — both an A-minor scale without any alterations — the descending movement at the beginning of La Sin-done, based on an E-minor scale with sharpened seventh and fourth degrees is of a much more dramatic character (Ex. 7).
Ex. 7
The title refers to the Turin Shroud, la sindone, which shows the contour of a male face and is venerated throughout Christendom as the burial shroud of Christ. This object of veneration is deeply connected with crucifixion and resurrection of Christ. The harsh chords are the result of a mixture of tonal parallel movement — two e-minor scales in parallel sixths — and chromatic parallel movement — two scales in parallel tritones below the e-minor scales. Sustained notes sharpen the tonal picture even more. Needless to say, the tritone still serves as a symbol of evil and distortion in general. Regarding the title, we might risk the interpretation that this unusually fierce
Ex.
sound stands for the pain and humiliation of the crucifixion as well as the buryial of the body or even for the Descensus Christi ad inferos after his crucifixion, popularly called Christ's descent into hell.
Like Passio and Miserere, La Sindone ends with an inversion of the descending movement of the beginning, but in an even more dramatic manner. The ascending movement starts in a diatonic e-minor, shortly turning into the tonally vague sound, rich in tritones, of the beginning, through the simple means of multiplying the E-minor scale - now enriched by additional altered notes — in parallel diminished seventh chords and the addition of tintinnabuli voices.
..............................................................................3 J 4 0- ------ v......................................................«...................................................................
fti s s. ts H; L< .......»....................................................J........................ ........: ^o .............................fr«.............................................. Ï...........Í "............, ................. ................J-----------i.................s.......................
VA J,_ : ..
However, the progression of the diminished seventh chords — themselves no doubt a symbol of rootlessness — is rooted by the sustained tonic E, into which all string instruments (which have been ascending to the highest registers), gradually. If we risk the interpretation that this last section is a musical depiction of Christ's ascension to heaven and to God the father, represented by the tonic E, we have to admit that the symbolic meaning of the tritone has
changed to the contrary within this texture. Whereas we perceived it as a symbol of negative distorting forces when discussing the beginning, we now may understand it as a detail contributing to the impression of a transfiguration: leaving this earthly world is symbolised by a liberation from the tonal gravity of music. The music is floating in space and the diminished intervals are no more frightening as the divine tonic drone is omnipresent (Ex. 8).
I have not yet mentioned how the ascending movement in Passio, Miserere and La Sindone, is complemented by a descending movement ending in low registers. The symbolic meaning of the whole texture thus
lies not only with the single ascending melodic line but also with the funnel-shaped expansion of musical space. The combination of the ascending and descending movement with a single voice results in yet another melodic prototype which we might describe as a wave (Ex. 9).
Ex. 9
As no leaps interrupt the continuous flow, and upward and downward movement keep the balance, this basic line is far less dynamic than a scale moving injust one direction. However, it usually undergoes a process of addition, resulting again in a funnel-shaped expansion of range, this time within a single voice. The two movements of Tabula rasa are both based on a wavelike basic line. They are completely different in tempo, texture and character, but complement one another. Part titled them Ludus (game) and SHentium (silence). To start with, the most obvious differences: Ludus is in A-minor, a fast tempo, mostly clamorous, playful and virtuoso, while Silentium is in D-minor, quiet and in a slow tempo. Furthermore, Ludus is divided into separate parts, while Silentium is a contin-
uous flowing. Furthermore: in Ludus the widening of instrumental range stops when the octave above and below the starting point is reached, while in Silentium it is actually endless. Furthermore: The parts of Ludus are separated by a silence which is successively shortened: furthermore, the end of the movement is reached in a calculated 'countdown', controlling the formal development in accordance with the numbers of the scale: When 7 notes have been added on both sides of the central pitch, the rest is shortened to 0 and the movement has reached a border melod-ically — the octave — as well as formally. In the second movement everything appears transformed, although the melodic material is the same as the first (Ex. 10).
Ex. 10
Through the process of giving the basic melodic line the simplest possible of rhythms (long: short = 1:2 as in Cantus), replacing the steady quarter note movement of Ludus, and by playing it simultaneously at three different speeds — two less than in Cantus — the sense of linear, steady forward movement within the extension process is neutralised. Although each voice progresses continually, movement — multiplied in a sort of proportional canon — is transformed into a sense of hovering in space, constant movement of all voices is transformed into a motionlessness (senza moto), which is demanded in place of a tempo direction. In ever expanding waves the melodic lines pass through a tonal space that finally crosses the border into the 'silence' of the title due to the limited range of instru-
ments. Let us risk a symbolic interpretation based on these structural facts: The two movements represent two different forms of musical existence of the same basic melodic line. The dynamic evolution includes contrasts — between rests and music, tutti and solo instruments, complex textures and two-part writing. A dynamic process like this comes naturally to an end which can be foreseen, just as we know that our life with all its contradictions and different stages will come to an end. In the second movement the silent and endless, eternal life of the same basic melody, as it were the same melodic ego, overcomes the feeling of movement (senza moto), of progressing from a starting point to a final destination and of time: It does so by neutralising the dynamic qualities of the basic line through multiplication in different tempi
and by stressing the possibility of infinity instead. The final destination of the music is silence, which sounds with perfect music, as our final destination is perfect, eternal life which is promised us according to Christian belief.
III
In talking of the symbolic meaning of the scale itself, we now have to specify different grades of defining a scale: In the most general and universal understanding, a scale is the idea of arranging the notes of a piece in the simplest way, an immaterial disposition. The deepest level of a certain piece of music — we might even use the Schenkerian term 'background' — then is the materialisation of this idea by choosing a key and concrete scale. The next level - a 'middle-ground' — lies in the determination of the basic line by choosing a central pitch as well as the way ascending and descending stepwise movement and leaps are intertwined. The next grade of concretion and individualization — the 'foreground' — is the manner in which the basic line, at first purely melodic, unfolds into a many-voiced individual texture with specific timbre and rhythm. A profound symbolic interpretation has to consider all
the details, including the title, to specify the more abstract meanings of the less concrete levels. However, these details are not meaningful in themselves, but in as far as they represent individual elaborations of the basic elements of scale and triad by choosing an individual meaningful structure. In this way the tin-tinnabuli style once again overcomes the dichotomy of structure and expression in a unique way.
Bibliography
1. Brauneiss L. Tintinnabuli — eine Einführung, in: Enzo Restagno / Leopold Brauneiss / Saale Ka-reda / Arvo Pärt, Arvo Pärt im Gespräch, Wien 2010, S. 98-155. (This contribution has been translated into Russian, but I never got a copy of this book in Russian, so please fill in here the Russian title and the correct numbers)
2. Brauneiss L. Grundsätzliches zum Tintinnabu-listil Arvo Pärts, in: Musiktheorie 16 (2001), S. 41-57.
3. Brauneiss L. Musical archetypes: the basic elements of the tintinnabuli style, in: Andrew Shen-ton (Hg.), The Cambridge Companion to Arvo Pärt, Cambridge University Press 2012, S. 4975.
