3 ~ 7 ?

#3ti Mo.

TEXTURE IN SELECTED TWENTIETH-CENTURY PROGRAM MUSIC FOR TRUMPET

AND ORGAN, A LECTURE RECITAL, TOGETHER WITH THREE RECITALS

OF SELECTED WORKS OF J. ALAIN, J. S. BACH, G. BOHM,

N. DEGRIGNY, H. DISTLER, M. DURUFLE, J. GUILLOU,

A. HEILLER, W. A. MOZART, E. RAXACHE,

M. REGER, L. VIERNE

DISSERTATION

Presented to the Graduate Council of the

North Texas State University in Partial

Fulfillment of the Requirements

For the Degree of

DOCTOR OF MUSICAL ARTS

By

Beverly A. Howard, B.M., M.M.

Denton, Texas

August, 1986

BP

Howard, Beverly A., Texture in Selected Twentieth-Century Program

Music for Trumpet and Organ, A Lecture Recital, Together with Three

Recitals of Selected Works of J. Alain, J. S. Bach, G. Bohm, N. De Grigny,

H. Distler, M. Burufle, J. Guillou, A. Heiller, W. A. Mozart, E. Raxache,

M. Reger, L. Vierne. Doctor of Musical Arts (Organ Performance), August

1986, 38 pp., 20 examples, 5 figures, bibliography, 33 titles.

This dissertation is concerned with the relationship between the

trumpet and organ in twentieth-century music for this ensemble and how

that relationship effects performance with regard to organ registration

and synchronization. The compositions discussed include The Other Voices

of the Trumpet, by Daniel Pinkham (1971); Jericho: Battle Music, by William

Albright (1976); Three Pictures of Satan, by Jere Hutcheson (1975); and

Okna, by Petr Eben (1980).

The theoretical writings of Pierre Boulez, Robert Erickson, and

Donald Cogan deal with developing a contemporary concept of texture.

This dissertation applies their theory that texture exists in two

dimensions: vertical and horizontal. Stratification and blending of

timbres comprise the vertical dimension. The succession of textures,

governed by tempo, creates the second dimension.

Chapter I provides an historical setting for the genre, intro-

duces the theory of Boulez, Erickson, and Cogan, and supplies the

programmatic content of the four works chosen for analysis.

In Chapter I I , the vertical elements of texture in these four

works are isolated and examined.

Chapter III deals with Pierre Boulez's theory that the succession

of textures, governed by tempo, shapes the work. Each work is examined

with regard to tempo, either mobile (fluctuating) or fixed.

In Chapter IV the analysis is related to performance. Stratified

textures, fused ensemble timbres, and their horizontal progression

present problems for the ensemble in organ registration and synchronization.

There are general guidelines given for registration as well as specific

registration problems encountered in stratified textures and fused

ensemble timbres. Synchronization, or coordination of events is the

second challenge presented by the horizontal progression of textures.

Tape recordings of all performances submitted as dissertation requirements

are on deposit in the North Texas State University Library.

i n

TABLE OF CONTENTS

Page

FIRST DISSERTATION RECITAL v

SECOND DISSERTATION RECITAL

THIRD DISSERTATION RECITAL vii

FOURTH DISSERTATION RECITAL

LIST OF EXAMPLES i x

LIST OF FIGURES

Chapter

I. INTRODUCTION 1

II. TEXTURE: STRATIFICATION AND FUSED ENSEMBLE TIMBRES . . . . 7

III. TEXTURE: HORIZONTAL PROGRESSION 22

IV. PERFORMANCE CONSIDERATIONS 32

BIBLIOGRAPHY 36

IV

North Texas State University School of Music

Graduate Recital

BEVERLY ANN HOWARD, Organ

Monday, June 14, 1982 8:15 p.m. Concert Hall

Prelude and Fugue in C Major Georg Bohm (1661-1733)

Orgelsonate, Opus 18/11 Hugo Dist ler I Rasche, energische Hal be (1908-1942)

I I Einleitung: Sehr erregte Achtel, dabei f re i im Zeitmass

I I I Recht geschwinde Achte? Passacaglia and Fugue in C Minor,

BWV 582. . . . Johann Sebastian Bach (1685-1750)

Toccata in E Minor, Opus 63, No. 9 Max Reger (1873-1916)

Through the Looking Glass Enrique Raxach lb. Ever d r i f t i ng down the stream-- (b. 1932)

Lingering in the golden gleam . . . 3a. Ah, bear in mind this garden was

enchanted! 2, Who the Platonic year

Whirls out new r ight and wrong Whirls in the old instead; Al l men are dancers and the i r tread Goes to the barbarous clangour of a gong

3b. . . .where do you suppose you'd be? la. And i f he l e f t o f f dreaming about you . . .

Mr. Vincent Benitez, Assistant

Tanz-Toccata Anton (1923-1979)

Presented in part ial fu l f i l lment of the requirements for the degree of

Doctor of Musical Arts

North Texas State University School of Music

Graduate Recital

BEVERLY HOWARD, Organ

Monday, August 13, 1984 8:00 p.m. Main Auditorium

Li tanies Jehan Alain (1911-1940)

Prelude et Fugue sur le nom d 'A la in , Opus 7 Maurice Durufle

lb . 1902)

* * * * *

Livre d'Orgue Nicolas de Grigny l ? r Kyrie en T a i l l e , a 5 (1672-1703) Fugue a 5. Qui renferme le Chant du Kyrie Cromorne en Ta i l l e a 2 Parties Tr io en Dialogue Dialogue sur les Grands Jeux

* * * * *

Scenes d'Enfant d'apres The Turn of the Screw d'Henry James Jean Gui l lou

(b. 1903)

Presented in pa r t ia l f u l f i l l m e n t of the requirements for the degree of

Doctor of Musical Arts

V I

Graduate Lecture Recital

BEVERLY HOWARD, Organ

with

LARRY JOHANSEN, Trumpet

Assisted by Kay McAfee

TEXTURE IN SELECTED PROGRAM MUSIC FOR TRUMPET AND ORGAN

Monday, June 16, 1986 4:00 p.m. Concert Hall

The Other Voices of the Trumpet Daniel Pinkham (b. 1923)

And I beheld and heard an angel f l y ing through the midst of heaven, saying with a loud voice, Woe, Woe, Woe, to the inhabiters of the earth by reason of the voices of the trumpet which are yet to sound.

Revelation 8:13

Jericho: Batt le Music William Albr ight I I I Ground-the seven days (b. 1944)

I f the trumpet give an uncertain sound, who shall prepare himself to the battle?

I Corinthians 14:8

Three Pictures of Satan Jere Hutcheson I I Satan's Holiday (b. 1938)

Okna (Stained Glass Windows) Petr Eben I Modre Okno (Blue Window) (b. 1929)

IV Zlate Okno (Gold Window)

Mr. Johansen is an Associate Professor of Music at Cal i fornia Baptist College. He earned a B.A. at Cal i fornia State University at Fresno and a M.M. at the University of Southern Cal i fornia. He is a doctoral candidate at the University of Colorado. Mr. Johansen has studied with Robert Nagel, Allen Dean, Ray Chrisara and Edward Tarr.

Presented in par t ia l f u l f i l lmen t of the requirements for the degree of Doctor of Musical Arts

Vll

North Texas State University School of Music

Graduate Organ Recital

BEVERLY HOWARD

Monday, July 7, 1986 4:00 p.m. Main Auditori um

F a n t a I d J ? / M i n 0 r ' K' 5 9 4 W.A.Mozart Snegro (1756-1791) Adagio

Sinfonietta 1 o a „ r , Ail .. -Jean Guillou Al legretto /u 'iq'5o\ Andante [

Allegro giocoso

INTERMISSION

Quatrieme Syniphonie pour Orgue, Op. 32 . .Louis Vierne

AlTegro (1870-1937) Menuet Romance Final

Presented in part ia l f u l f i l lmen t of the requirements for the degree of

Doctor of Musical Arts

V l l l

LIST OF EXAMPLES

Example Page

1. Petr Eben, Okna , "Blue Window," measures 1-2 . . .

2. Petr Eben, Okna , "Blue Window," measures 1-3 . . .

3. Petr Eben, Okna t "Blue Window,"

4. Petr Eben, Okna , "Blue Window," measures 50-55 . .

5. Petr Eben, Okna , "Blue Window," measures 63-67 . .

6. Petr Eben, Okna , "Gold Window," pages 34-35 . . .

7. Daniel Pinkham, The Other Voices of the Trumpet, p. 15 . . . 13

8. Daniel Pinkham, The Other Voices of the Trumpet, p. 16 . . . 14

9. Daniel Pinkham, The Other Voices of the Trumpet, measures 54-60 . . .

10. Petr Eben, Okna, "Gold Window," measures 48-54 .

11. Daniel Pinkham, The Other Voices of the Trumpet, measure 74

12. Jere Hutcheson, Three Pictures of Satan. "Satan's Holiday," p. 11

seven days," p. 31 . . . . 18

14. William Albright, Jericho: Battle Music, "Ground--the seven days," Variation 8 . 19

15. William Albright, Jericho: Battle Music, "Ground--the seven days," Variation 7

16. William Albright, Jericho: Battle Music, "Ground--the seven days," Variation 5

15

16

17

17

20

17. Daniel Pinkham, The Other Voices of the Trumpet. opening segment, measures 1-11 24

IX

E x a mP l e Page

18. Jere Hutcheson, Three Pictures of Satan. "Satan's Holiday," page 9

19. Petr Eben, Okna, "Blue Window," registral contours . . . . . 30

20. Daniel Pinkham, The Other Voices of the Trumpet. measures 12-14 34

LIST OF FIGURES

figure P a g e

1. Daniel Pinkham, The Other Voices of the Trumpet 25

2. Mobile tempo in The Other Voices of the Trumpet. Daniel Pinkham 26

3. William Albright, Jericho: Battle Music, "Ground—the seven days" 27

4. William Albright, Jericho: Battle Music. "Ground—the seven days" 28

5. Fluctuation Within Fixed Standard, Petr Eben, Okna, "Gold Window" 31

XI

Chapter I

INTRODUCTION

Although a few original works for trumpet and organ can be found

throughout the Baroque period, this genre did not blossom until the

latter twentieth century, when composers were attracted by the timbral

possibilities of the ensemble.

Original music for trumpet and organ first appeared in Girolamo

Fantini's trumpet method of 1638. His collection contained sonatas and

dances for trumpet and organ continuo. Fantini probably performed these

sonatas in concerts in Rome, accompanied by organist Girolamo Frescobaldi.

The Fantini-Frescobaldi programs attracted the attention of their

contemporaries owing to Fantini's virtuosic playing.*

The remaining Baroque works for trumpet and organ include two

sonate da chiesa in Opus IV (1678) by Giovanni Viviani and six chorale

preludes by Johann Krebs (1713-1780). Krebs composed fourteen chorale

preludes for organ and obbligato wind instrument. Six are specifically

for trumpet, with the remaining eight scored for oboe.^

1. Edward Tarr, "Original Italian Baroque Compositions for Trumpet and Organ," Diapason. MLI/5 (April, 1970), 28.

2. Edward Tarr, "Preface" to his edition of The Six Chorale Preludes for Trumpet and Organ by Johann Krebs (Hamburg: Benjamin GMBH-N. Simrock, 1978).

From the mid-eighteenth to the mid-twentieth century, the trumpet

and organ genre was completely neglected. During this hiatus, both

instruments underwent significant structural and tonal modifications.

The trumpet acquired valves, additional tubing, and a wider bore. Its

tone acquired the ability to penetrate the sound of an orchestra.3 The

organ experienced several changes in construction, philosophy of design

and tonal properties, including a period of orchestral imitation and a

subsequent rediscovery of the clarity and beauty of earlier tonal ideas.

In the period of timbral and textural experimentation since 1950, the

trumpet and organ ensemble has received fresh attention. Phillip Cansler,

in his annotated bibliography for contemporary literature for trumpet

and organ, lists eighty-seven works published by 1983.

In the Baroque works, the textural relationship between trumpet

and organ was not complex. In the sonatas of Fantini and Viviani, the

organ functioned as a continuo instrument, supporting the melodic dominance

of the trumpet line, rather than being a source of varying timbres and textures.

In the chorale preludes of Krebs, the trumpet performed the chorale

cantus firmus line in the contrapuntal texture, serving like a solo stop

on the organ.4 Baroque trumpet authority Edward Tarr, who has described

the melody-plus continuo relationship between the trumpet and organ in

these Baroque sonatas, commented in a recent interview that in

3. Tarr, "Original Italian Baroque Compositions," 27.

4. Tarr, "Preface."

5. Tarr, Original Italian Baroque Compositions," 28.

contemporary repertoire the two instruments are treated as equal

partners. This dissertation explores that equal partnership by comparing

textural elements found in four programmatic works for trumpet and organ.

The serial, indeterminate and notational techniques of the

literature for trumpet and organ are conservative when compared to other

music of the twentieth century. One reason is that organ literature has

maintained a close relationship with the church, as evidenced by the

number of chorale-based works, as well as religious programmatic works.

The compositions to be discussed include The Other Voices of the

Trumpet. by Daniel Pinkham (1971); Jericho: Battle Music, by William

Albright (1976); Three Pictures of Satan, bv Jere Hutcheson (1975) ; and

Okna, by Petr Eben (1980). These four works represent a cross section of

contemporary musical style and constitute important additions to the

genre, thus warranting closer scrutiny.

The theoretical writings of Pierre Boulez, Robert Erickson, and

Donald Cogan deal with developing a contemporary concept of texture.

This dissertation applies their theory that texture exists in two

dimensions: vertical and horizontal. Stratification and blending of

timbres comprise the vertical dimension. The succession of textures,

governed by tempo, creates the second dimension. Performers who are

cognizant of the textures involved in this music are better equipped to

make decisions concerning problems in timbre and synchronization.

6. Edward Tarr, Interview at California State University at San Bernadino, CA, February 24, 1986.

The Other Voices of the Trumpet is a serial work for trumpet,

organ, and tape which, according to Pinkham, creates a musical image of

Revelation 8:13:

And I beheld, and heard an angel flying through the midst of heaven, saying with a loud voice, Woe, Woe, Woe, to the inhabiters of the Earth by reason of the voices of the trumpet of the three angels which are yet to sound.

Three-fold repetition throughout the work depicts the three angels.

The opening trumpet fanfare is stated three times, the distinctive opening

eleven bars occur three times in the course of the work, and the addition

of the tape adds a third performer. At the climax of the work, the

entrance of the tape and the use of a black page with white notation, on

which is superimposed the image of three angels blowing trumpets, evokes

an element of the supernatural.

Albright's title and inscription before the final movement of

Jericho, "Ground—the seven days," refer to the report in Joshua 6 of the

Israelites' six-day encampment and march around the city of Jericho. On

the seventh day they marched around the city seven times with trumpets

blaring. As instructed by Joshua, the people shouted and the walls of

Jericho fell to the ground. The movement is constructed upon a twenty-

five beat ground which is grouped in measures alternating in groups of

four and three. The four plus three grouping is a reference to the seven-

day march. Twelve statements of the ground appear before the coda,

perhaps representative of the twelve tribes of Israel. At the conclusion 0f the

movement, this Quotation from I Corinthians 14-:8 appears as another reference

to battle: "If the trumpet gives an uncertain sound, who shall prepare

himself to the battle?"

Three Pictures of Satan, by Jere Hutcheson, are three scenarios

entitled "Satan's Inferno," "'Satan's Holiday," and "Satan's Requiem."

According to Edward Tarr, to whom the work was dedicated, the composer

was interested in exploiting the theatrical side of the subject.7 For

Satan's Holiday" Hutcheson chose a musical syntax based on extended

trumpet and keyboard techniques and indeterminate notation. Toy horns,

capes and directed theatrics aid the program.

Okna, by Czechoslovakian composer Petr Eben, depicts four of twelve

windows created by Marc Chagall for the Synagogue at the Hebrew University

Medical Center in Jerusalem. The Russian-born artist was commissioned to

fill twelve windows with stained glass, one for each tribe of Israel.^

Chagall designed three windows each in which the colors blue, green, red,

and gold predominate.9 Originally Eben entitled his movements by color,

although he later identified specific windows for each movement.

According to the composer, the "Blue Window," or "Ruben," is

descriptive of surging sea waters with birds in the air and fish in the

sea."10 An added element for contemplation is the sun on the window

bearing the inscription from Isaiah 40:12: "Who hath measured the waters

in the hollow of his hand, and meted out heaven with the span, and

comprehended the dust in a measure . . . ." n

7. Edward Tarr, Interview at California State University at San Bernardino, CA, February 24, 1986.

8- Chagall in Jerusalem (author not given) (New York: Leon Amiel Publisher, 1983), 116.

9. Ibid., 162.

10. Peti Eben, The Organ Music of Petr Eben" (Pipe Dreams, broadcasted KVCR, San Bernardino).

11. Chagall. 119.

The "Gold Window," or "Levi," captures the spirit of a solemn

festival represented in glass by the candlelit Torah. Above the Torah,

four heraldic animals of the synagogue surround a vase of offerings."^

T h e Jorah bears this verse from Deuteronomy 33:10: "They shall teach

Jacob thy judgments, and Israel thy law: they shall put increase before

thee, and whole burnt sacrifice upon thine altar."13 Eben based this

movement on a hymn from the Russian Orthodox liturgy as a tribute to the

Russian-born Marc Chagall.

The works by Pinkham, Albright, and Eben exist as expression of

scriptural references, although those references in the Eben are secondary

to the stained glass windows. Hutcheson's "Satan's Holiday" is singular

in its reliance on title, costuming, and theatrics to convey the program.

12. Eben, Ibid.

13. Chagall. 127.

Chapter II

TEXTURE: STRATIFICATION AND FUSED ENSEMBLE TIMBRES

In traditional analysis, texture often receives cursory attention.

It is described as thick or thin, chordal or linear, or metaphorically

likened to threads in a fabric. Contemporary theorists seek to define

texture so that it serves as a viable analytical tool for music of the

twentieth century. Simply stated, a work's texture results from the

interaction of pitches, duration, and timbre.'''

Pierre Boulez calls for a more rigorous study of texture, which

he terms musical space. He applies two terms to texture usually

associated with pitch distribution. According to Boulez, musical space

exists as a vertical and horizontal phenomenon, capable of evolution in

the course of a composition through pitch relationships and their

2 progression in time.

Examination of the equal partnership of trumpet and organ in

comtemporary ensemble literature necessitates analysis of vertical aspects

which include pitch organization, distribution, register, and their

horizontal progression through time.

1. Gary Wittlich, Aspects of Twentieth-Century Music (Enelewood Cliffs N.J.: Prentice Hall, 1975), 66. '

2. Pierre Boulez, On Music Today. tr. Susan Bradshaw and R. R. Bennett (Cambridge, MA: Harvard University Press, 1971), 84.

Broadly speaking, trumpet and organ appear in two textural

situations: stratified textures and fused ensemble timbres. Stratification,

or layering, is easily perceived by a distinct partition of events. Each

layer, or stratum, features its own pitch, rhythmic or timbral identity.

The movements from Okna feature the most consistent use of stratification,

while only portions of the works by Pinkham, Albright, and Hutcheson

illustrate this technique.

Eben's "Blue Window" displays two and three layers easily perceived

by their distinct functions of pitch, rhythm, and timbre. This movement

opens with two distinct figures which serve as pitch and rhythmic reference

for the strata of the entire movement. The theme of the movement emanates

from the basic cell (023) shown in Example 1.

Example 1. Petr Eben, Okna, "Blue Window," measures 1-2.

The last note of this first phrase of the theme elides with the

beginning of a triplet ostinato as shown in Example 2.

Example 2. Petr Eben, Okna, "Blue Window," measures 1-3.

Con motb pirs/stcnti J • 02

Manual*

•mf

1 ' . —

•mf I—r- U - i —

$

The triplet ostinato and slower theme combine to form the three layers

shown in Example 3:

1. 2. 3.

the theme delivered by the trumpet the keyboard continuation of the triplet pattern the pedal as supporting bass.

Example 3. Petr Eben, Okna, "Blue Window," pages 5-6.

A

: :

hair! IjpPjl— cca fx

10

As part of the developmental process, the strata change positions. In

the two layers in Example 4, the thematic material forms the bottom layer

and the ostinato pattern is transferred to the trumpet.

Example 4. Petr Eben, Okna, "Blue Window," measures 50-55.

©. ,

" I

Example 5 illustrates a third arrangement with the theme in the

trumpet, ostinato in the pedal, and an eighth-note echo of the theme

filling the middle register in the keyboard.

Example 5. Petr Eben, Okna, "Blue Window," measures 63-67.

© _

(pocof)non Uf.

11

Strata with distinct functions (melody, accompaniment, and harmonic

support) provide the predominant texture in the "Blue Window." The

opening section of the "Gold Window" features two strata which function

independently of each other. The movement opens with two strongly

differentiated layers. As shown in Example 6, the organ presents a

metrical chorale-style harmonization of a Russian Orthodox hymn (harmonized

in r>b) while the trumpet plays a free rhapsodic melody. The organ

continues the chorale ad libitum with the trumpet eventually taking up

the chorale tune in D at rehearsal number 1. Two layers are clearly

separate because of the dual tonal centers (Bb and D) and the lack of

synchronization between trumpet and organ.

Stratification occurring on the black page in The Other Voices

of the Trumpet is a result of timbral contrasts. Example 7 illustrates

a multi-layered texture incorporating tape, a sustained organ cluster,

and a trialogue between tape, organ, and trumpet. The sustained cluster

provides a background layer for the activity between tape, trumpet, and

pedal. The tape initiates the trialogue on the second system, followed

by the trumpet imitating the tape's figure. The pedal acts as the third

member of the trialogue. The three-fold repetition of this event and

dynamic and timbral differences between the instruments help distinguish

each layer.

Like Eben, Pinkham rearranges the strata. In Example 8 the tape

takes over the cluster, now transformed to an ascending figure, while the

organ and trumpet take over a rhythmic figure based on two linear pre-

sentations of the row.

12

Example 6. Petr Eben, Okna, "Gold Window," pages 34-35,

Fdst/vo ( J -88 )

Or<f.

senamkS (Jnhapai t)

©J, p~»/

pocoj (ma soltanCo 8' 4* «v. 16')

13

Example 7. Daniel Pinkham, The Other Voices of the Trumpet, p. 15.

Clfd.liVJC;

V i V m m

ftS*ft*

Y.>r *

i&ir m;: WiffrT&at

' ; , r ' ! ;

struhkt mutt

i ^ H L I E F ^ S ^ r l sob®!?

Example 8. Daniel Pinkham, The Other Voices of the Trumpet, p. 16.

s trine J = 6 0

Tit t i l rnmmvn tenti Ihtu rlutltTt. Brtin to mov« vhin tap! fiturt irftni. Continue mictnt until iapt *»Cini il, thtn itof) mntl mt.

Da not synchronize ^ trumpet and organ. G j rTS

chenft stops

After ascendwf Jifurt btfinsn thi tape the or/fan enters.

14

The combination of trumpet and organ lends itself ideally to

polyphonic writing, described by Boulez as the diagonal distribution

of structures. The Other Voices of the Trumpet and "Gold Window" from

Okna feature examples of canonic writing that lead to a climactic point

in each work. To increase tension in the second major section of The

Other Voices, Pinkham deployed the pitches of two different transpositions

of the original row in a canon a quarter-note apart. In Example 9 (m. 54),

the initial pitches of the dux and comes enter at the interval of a

second. The canon continues between keyboard and pedal in m. 57, rising

to a climactic verticalization of the row in m. 60.

"Gold Window" features canonic imitation between trumpet and

organ beginning at the distance of three eighth-notes. At rehearsal

number 7, Example 10, Eben specified an 8' trumpet stop, making this use

of canon a blend of timbres because the trumpet and organ share the same

register and timbre.

3. Boulez, On Music Today. 119.

15

Example 9. Daniel Pinkham, The Other Voices of fhp Trnmnpt 54-60. —1-—'

measures

16

Example 10. Petr Eben, Okna, "Gold Window," measures 48—54.

If , f f ^ g

i y • S • ? 1 ,-4^-

1 /' ~ " , i

•A—ir — r ^ . r - — •

* )r

1 - ' f r - - - - — i *

1

Textures which feature a more complex blending of timbres than

the Eben example are termed fused ensemble timbres. Robert Erickson

coined the term in this definition:

In extreme contrast with layered textures are those composite sounds which I have called fused ensemble timbres. These aim for a blend of contributing elements in which timbral particularity is submerged in the more general sound of the whole.4

Such a fusion creates the shimmering effect which initiates a

section in The Other Voices. As illustrated in Example 11, the organ

sustains a double trill, eventually joined by the trumpet. Placing the

4. Robert Erickson, Sound Structures in Music (Los Angeles: University of California Press, 1975), 165.

17

trumpet register below that of the organ and muffling the bell of the

trumpet in a cloth bag contribute to the fusion of timbres.

Example 11. Daniel Pinkham, The Other Voices of the Trumpet. measure 74.

/T\luxra

Hutcheson and Albright used this technique at climactic points

in their works. In the final seconds of "Satan's Holiday," the trumpet

repeats the pattern shown in Example 12 an indeterminate number of times,

playing as rapidly and as evenly as possible. When the organ begins

alternating the bracketed clusters, sounding the same pitches as the

trumpet in the same register, a fusion of timbres takes place. Depending

on the tonal quality of the organ's reeds, the degree of fusion may vary.

Example 12. Jere Hutcheson, Three Pictures of Satan. "Satan's Holiday " p. 11.

18

The Coda of "Ground—the seven days" presents a longer section

of fusion which makes great technical demands on the trumpet. From the

beginning of the Coda, an assistant sustains a dyad on Bb-C on the swell

manual. Throughout the Coda, the trumpet settles on Bb and C exclusively,

as found in Example 13. The organist joins in playing the Bb and C. The

three performers release the notes simultaneously, leaving the trumpet to

sound the note D. Albright's refined use of this technique differs from

Hutcheson's because Albright alternates tremolo and trilling between

the two instruments. While the organ plays a measured tremolo, the

trumpet trills. Then they exchange figures.

Example 13. William Albright, Jericho; Battle Music. "Ground—the seven days," p. 31.

| l — " " L ' (•"">) • • *" - 3 1 '

y*Tvt=3Fuulfi

( iLi l\u iL-t f

t)\i A M l « A i ( r t a i r t i i M n J , "

cwfw? s ~ — -

19

In Variation 8 of the "Ground," a special blending of the two

instruments occurs. The trumpet and organ lines elide as shown in

Example 14. The effect is that of a single, continuous line.

Example 14. William Albright, Jericho: Battle Music. "Ground—the days," Variation 8.

seven

ill' L:

I - l{.. \ ^

-I

I- :""j

Frequently, stratified textures and fused ensemble timbres are

sharply delineated as in the preceding examples. However, there exist

compositions which are ambiguous as to textural types. For example,

the structural concept of "Ground—the seven days" is that of a passacaglia,

an ideal vehicle for a layered texture. The ground, in fact, does provide

one layer. Some variations, such as the one in Example 15, present two

other layers; i.e., manual arpeggiation and a trumpet counter-melody.

Example 15. William Albright, Jericho: Battle Music. "Ground—the seven days," Variation 7.

20

Tr.

Org.

[JtRi* form

—*P crcKL.ytt».*_j?ica.

However, the variation in Example 16 features the ground as a support

for a web of polyphony out of which the trumpet emerges.

Example 16. William Albright, Jericho: Battle Music. "Ground—the seven days," Variation 5.

Tr.

j / f j h t f a * rm"3' "j trrj 4 * ' 4

( * * ) FT FT—1

fr - ^ r L S ^ j n * rAit« i n

tiHtizarWii (c-r/mnt»iu Aiieinp*-

/•••*/ , .

r

fiiec? .

21

These works reveal several uses of stratification: Eben relies on thematic

and rhythmic elements in differentiation of the layers. Pinkham uses

timbral contrast as the dominant feature in his strata. Both composers

use canon.

The separate elements of stratification and fused ensemble timbres

provide local color. For example, the triplet ostinato pattern in "Blue

Window" is a common musical metaphor suggesting wave-like motion. The

t a p e l n T h e ° t h e r V o i c e s suggests the supernatural. However, as seen in

Eben's and Pinkham's rearranging of the strata, these textural elements

are not static. The inventiveness of the composer is revealed in the

succession of these textures, or the horizontal dimension.

22

Chapter III

TEXTURES: HORIZONTAL PROGRESSION

Pierre Boulez describes the succession of textures as horizontal

progression, or tempo, using a term usually applied to pitch analysis.

He recognizes two types of horizontal progression: fixed tempo and

mobile tempo. A fixed tempo remains constant for an entire movement,

progressing according to a fixed standard, or metronome marking. Mobile

tempo can be either directed, fluctuating from one fixed standard to

another, or non-directed, without a fixed standard for reference.^ All

four compositions utilize varying degrees of mobile tempo, either directed

or non-directed, which the composer employs to help clarify each work's

individual structure,

The use of mobile tempo in The Other Voices clarifies structure and

focuses attention on the climactic section of the work. Michael Corzine

views the formal organization of this work as ABCADA, basing his sections

on tone-rows, texture, and tempo.2 The A section contains an eleven-bar

segment so distinctive in register, motive, and tempo that it serves as a

1. Boulez, On Music Today. 51.

2. Michael Corzine, The Organ Works of Daniel Pinkham (D.M.A. dis-sertation, Eastman School of Music, 1979; Ann Arbor, Michigan: University Microfilms 8005139), 198.

23

ritornello underpinning the entire structure. This segment, shown in

Example 17, features stile brise distribution of the original series.

Figure 1 visually represents the static register of measures 1-11,

especially when compared to the wider registral distributions which follow,

lhe lack of progression and the at 132 tempo in this segment create

tension which is partially relieved by those sections where the tempos

fluctuate.

Figure 2 shows the sections and corresponding tempos. Section

C only briefly departs from a fixed standard, then resumes the original

tempo followed by a directed ritenuto to ) at 99. The tape's entrance

on the black page, initiating Section D, coincides with the longest

fluctuation from a fixed standard. This seeming suspension of time

draws the listener to the interaction between tape and live performers.

The final statement of A restores the tempo primo. providing closure

and balance for the composition.

Although structurally the final movement of Jericho relies on a

ground, the correlation between the suggested tempo increases and the

number of attacks (notes) in each variation direct the work to its climax.

The suggested tempo increases are:

First statement of the ground through Var. 3, J at 56 Variation 4 J at 60 Variations 5-8 } at 66 Variation 9 ) at 72 Variation 10 at 84 Variation 11 ) at 92

Based on the ground length of twenty-five quarter note beats per variation,

there is a straight line increase in beats per second versus tempo as

illustrated in Figure 3.

24

Example 17. Daniel Pinkham, The Other Voices of the Tr„mpPt- opening segment, measures 1-11. — p 8

Allegro con brio J * 132

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Organ

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26

Figure 2. Mobile tempo in The Other Voices of the Trumpet. Daniel Pinkham.

SECTION A B C A D A

TEMPO J =132 J =132 N F ^ =132 --?'99 J =132 NF-*J =60->132 J =132

MEASURE 1 40 72 93 JQA 105

(Black Page)

NF = Non-Fixed Standard

To plot the progressive density in the variations, the attacks for

each variation were counted for the individual instruments and the ensemble.

Then calculating the attacks per second, Figure 4 shows the increase in

density in each variation.

The figures fail to reflect the rhythmic diminution of the ground

in Variations 10 and 11 and the ground's inversion in Variation 11 as

other contributing factors to the work's intensity. The octave doubling

of the ground in both variations intensifies the dramatic impact.

Mobile tempo least affects the structure in "Satan's Holiday."

The composer instructs the performers to play events as fast as possible

or moderately or fast. The tension created by the build-up of sound mass,

Example 18, on the second system is alleviated by the theatrics which

follow. However, three tempo markings stand out in this movement as

fixed standards within a variable field. Two of the fixed tempi ( J =60,

J = 69) appear with a specific motive that the trumpet sounds. The

third metronome marking J = 66 sets the tempo for the last four notes

of the movement.

27

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Example 18. Jere Hutcheson, Three Pictures of Satan. "Satan's Holiday," page 9. ~ — —

29

T « i . : D*nnm tkt letter *c»r»(tcA., Wa* J gesture t'c -

. » « » w u u v,b.) «*;

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The "Blue Window" is singular in that it exploits the elasticity

of a fixed tempo: within each phrase, the pitch contours rise and fall.

This motion is reflected on a larger scale by the rise and fall of each

sections' registral contour, seen in Example 19. The synchronization

of trumpet and organ undergoes a similar ebb and flow. Although the

30

Example 19. Petr Eben, Okna, "Blue Window,t! registral contours.

numbers. CD

pe <bl O

0

31

entire movement progresses at a fixed tempo of J at 132, Figure 5

shows those sections in which the organ maintains the ostinato patterns

ad libitum while the trumpet theme escapes from the barlines. Sections

involving exact synchronization alternate with sections of independent

relationship. Whenever the two instruments are synchronized, time

returns to sharp focus.

Figure 5. Fluctuation Within Fixed Standard, Petr Eben, Okna, "Gold Window."

REHEARSAL NUMBER

OPENING 1-3 4-5 6 1_ 8-9

Organ T & 0 T & 0 Organ T & 0 T & 0

Non-sync Sync Non—sync Sync

T & 0 = Trumpet and Organ

Organ = Organ Alone

Non-sync = Non-synchronized

Sync = Synchronized

Each of the compositions acquires its own personality by the way

the composer manipulates the horizontal dimension of texture. Pinkham

relies on recurring register, rhythmic distribution, and mobile tempo to

shape the large structure. While the ground ostensibly shapes the large

structure in Jericho, tempo modulations and rhythmic diminution pace the

drama of the work. Tempo is the least important structurally in "Satan's

Holiday." Eben uses mobile tempo and fluctuation within a fixed standard

to distort time.

32

Chapter IV

PERFORMANCE CONSIDERATIONS

An understanding of textural elements of a work enables the

performers to give a lucid performance of a composition. Stratified

textures, fused ensemble timbres, and their horizontal progression present

challenges for the ensemble in organ registration and synchronization.

The organist who performs with trumpet needs to consider some

general guidelines in registration. With the variety of tonal designs

available today, the organist must be flexible when considering a choice

of stops. Contemporary composers often indicate only general pitch

levels such as 16', 8', or 4', or indicate contrasting dynamic levels as

in Plena or The Other Voices.

The organist needs to adapt the music to the instrument at hand.

Although Albright and Hutcheson wrote their works with a three-manual

instrument in mind, they provide suggestions on how to adapt their music

to two-manual organs. Occasionally the keyboard compass of a particular

instrument is less than five octaves, rendering it inadequate for some

literature. In such circumstances, it is necessary to remove the

fundamental or 8' pitches and to play passages an octave lower than

written.

Finally, certain organ stops can conflict with the trumpet in

tuning. Unless specified by the composer, it is advisable to avoid

strings, reeds (especially trumpets), and stops with celeste tuning.

33

Performers should strive to achieve a balance between the two

instruments. Stratified textures and fused ensemble timbres require

different approaches in registration. In stratified textures, each

layer needs to be heard clearly according to function. In Example 3,

the trumpet renders the theme, the keybard provides an accompaniment

pattern, and the pedal supports the harmony. In this situation the

keyboard needs to provide a solid, but not overbearing, registration.

On the average instrument, a combination of 8', 4', or 8', 4', 2' will

suffice. The pedal should provide adequate depth with 16' and 8'.

In choosing stops for the multi-layered texture in The Other

Voices (Example 7), the performers must be able to hear the sustained

organ cluster while the tape plays. The score indicates subtle timbre

changes of this cluster: strings, flute, oboe, and principal. The swell

box is to remain closed. When circumstances dictate that this work be

performed on an electronic organ, it is important to realize that strings

and reeds on electronic organs tend to blend into the tape sound so well

that cueing is difficult. The organist needs to substitute stops which

penetrate the tape's sound.

The goal of those passages incorporating fused ensemble timbres

is the blend of the two instruments. In examples 12 and 13 the fusion

is more effective if a Trompette is included in the registration.

There exist special passages where the composer blends the

instruments by either doubling the parts or merging two lines into one.

In Example 20 from The Other Voices . the trumpet doubles the melody line

34

with the organ. In this passage (from ra. 12-13) the organ maintains a

forte while the trumpet line is marked with softer dynamic markings.

Example 20. Daniel Pinkham, The Other Voices of the Trumpet, measures 12-14.

lirico

; '• *_t r r T I

- 9 -J--;—^ i >1 til——tie=. i j L- !1 i 1 Li! L y i r. i

"i'tir-* " (r ' '

As long as the organist maintains a clear registration, neither muddied

by 16T nor confused by reeds, there exists no problem of balance.

Synchronization, or the horizontal progression, proves the second

challenge in this literature. With adequate rehearsal and sufficient

cueing, coordination of those sections of mobile tempo in Pinkham, Hutcheson,

and Eben is not a formidable task. However, the small gradations of tempo

in the Albright present a problem. The sense of urgency conveyed by that

35

movement is partially achieved through small, specific tempo increases.

This collective stringendo is not easy to manage unless the ground

establishes the meter shifts. Unmetered flourishes, separating several

of the variations, furnish opportunity for the performers to shift

mentally to the new tempo.

When the trumpet and organ genre was revitalized in the mid-

twentieth century, composers utilized textural processes common to other

literature of the twentieth century. With the application of Boulez's

concept of texture as a vertical and horizontal phenomenon, the music

yields examples of stratified textures and fused ensemble timbres.

Composers vary differentiation of layers by relying on thematic or rhythmic

association> as in "Blue Window," or contrasting timbre, as in The Other

Voices of the Trumpet. Pinkham, Albright, and Hutcheson fuse the two

instruments into a single timbre for novel effects.

The inventiveness of the composer is revealed in the horizontal

progression of texture as governed by tempo. Mobile, or fluctuating tempo,

shapes structure to some degree in all four works. Structural clarification

by this means is most obvious in the Pinkham and Albright. Hutcheson

works almost exclusively in a variable field. Eben manipulates the

synchronizations of the trumpet and organ within a fixed tempo.

These four compositions are valuable contributions to the genre.

Those performers willing to learn and to program any of these original

works for trumpet and organ will be enriched musically and aesthetically.

36

BIBLIOGRAPHY

Books

Arnold, Corliss. Organ Literature: A Comprehensive Survey, Vol. I, Metuchen, N.J.: Scarecrow Press, 1984.

Barzun, Jacques. Berlioz and the Romantic Century. Boston: Little and Brown, 1950.

Boulez, Pierre. On Music Today, tr. by Susan Bradshaw and R. R. Bennett. Cambridge, MA: Harvard University Press, 1971.

Cansler, Philip. T. Twentieth-Century Music for Trumpet and Organ. Nashville: The Brass Press, 1984.

Carse, Adam. The History of Orchestration. New York: Dover Publications Inc., 1964.

Chagall in Jerusalem. (author not given). New. York: Leon Amiel Publisher, 1983,

Clendenin, W. Ritchie. A Modern Edition of Girolamo Fantini's Trumpet Method (1638). Boulder: Empire Printing Company, 1977.

Cogan, Robert and Escot, Pozzi. Sonic Design: The Nature and Sound of Music. Englewood Cliffs, N.J.: Prentice-Hall, Inc., 1976.

Corzine, Michael. The Organ Works of Daniel Pinknam. D.M.A. dissertation, Eastman School of Music, 1979; Ann Arbor, Michigan: University Microfilms, 8005139.

Erickson, Robert. Sound Structures in Music. Los Angeles: University of California Press, 1975.

Orrey, Leslie. Programme Music. London: Davis-Poynter, Ltd., 1975.

Read, Gardner. Contemporary Instrumental Techniques. New York: Schirmer Books, 1976.

Reed, Douglas. The Organ Music of William Albright: 1965-1975. D.M.A.

dissertation, Eastman School of Music, 1977; Ann Arbor, Michigan: Univeristy Microfilms, 7708848.

37

Stockmeier, Wolfgang. Program Music, tr. by A. A. Howie. London: Oxford Univeristy Press, 1970.

Wittlich, Gary. Aspects of Twentieth-Century Music. Englewood Cliffs N.J.: Prentice-Hall, Inc., 1975.

Wuorinen, Charles. Simple Composition. New York: Longman, 1979.

Articles

Ashforth, Alden. "Linear and Textural Aspects of Schoenberg's Cadences," Perspectives of New Music XVI (1978), 195-224.

Doksider, Timofej. "Articulation or Bowing on the Trumpet," Brass Bulletin XXXI (1980), 35-44.

Hantz, Edwin. "An Introduction to the Music of William Albright," Diapason LXIV/6 (May 1973), 1, 4-5.

Landale, Susan. "The Organ Music of Petr Eben," Music XIII/12 (December 1984), 40-43.

Reckziegel, Walter. "Georg Joseph Vogler," Die Musik in Geschichte und Gegenwart, ed. Friedrich Blume. New York: 1966, XIII, 1894-1905.

Reed, Douglas. "William Albright's 'Four Fancies for Harpsichord'," Diapason (1981), 12-13.

Stevens, Thomas. "I Chose to Address Myself to New Music Rather Than New Trumpet," Brass Bulletin 5/6 (1973), 47-53.

Tarr, Edward. "Original Italian Baroque Compositions for Trumpet and Organ," Diapason MLI/5 (April 1970), 27-29.

Vinton, John. "Texture," Dictionary of Contemporary Music. New York: E. P. Dutton and Co., 1971, 741-753.

Wuorinen, Charles. "Notes on Performance of Contemporary Music," Perspectives of New Music III (1964), 10-21.

Tapes

"The Organ Music of Petr Eben," Pipe Dreams, broadcasted KVCR, San Bernardino, CA.

38

Interview

Tarr, Edward. Interview by author at California State University at

San Bernardino, CA, February 24, 1986.

Scores

Albright, William. .Tprirho: Battle Music. New York: C. F. Peters, 1976.

Eben, Petr. Okna. Schweiz: Barenreiter Verlag Kassel, 1980.

Hutcheson, Jere. Three Pictures of Satan. New York: Seesaw Music, 1975.

Krebs, Johann. The Six Chorale Preludes for Trumpet and Organ, ed. Edward Tarr. Hamburg: Benjamin GMBH-N. Simrock, 1978.

Pinkham, Daniel. The Other Voices of the Trumpet. Boston: E. C.

Schirmer, 1972.