1 INTERVAL CYCLES, THEIR PERMUTATIONS AND GENERATIVE PROPERTIES IN THOMAS ADÈS' ASYLA Thomas Adès does not like to be interviewed. He rarely speaks in public and almost never talks about his music. In short, he would be a terrible musicologist. Aside from occasional written phrases, as in Matias Tarnopolsky's program notes to Adès' Asyla1, which serve less to elucidate information about the composer's own music than to hint at his philosophy, Adès is silent. Some may certainly praise him for his reticence, especially those who feel that talking about music is as helpful as burning it. While there is certainly something to be said for this point of view, in that one can talk less about music than around it (that is, one can only approach a piece of music indirectly), there are some, like me, for whom talking about it (or even around it) is important, even necessary. Much of musical meaning, in my opinion, comes from reflection, and however indirect our approach to a piece of music may be (through such methods as analysis, for instance), there is still value in voicing that reflection, carrying on a dialogue with another (since not all reflections are the same), in an attempt to understand something which speaks to us as indirectly as we talk about it. Analyzing a major orchestral work by a composer who does not talk about his music is a daunting task, not only because of the lack of information, but also because, especially today, the reader likes to be convinced that such an analysis is worth the while. Since Thomas Adès' Asyla is appreciated more for its polystylism and unusual orchestration than for how it is put together, the idea of convincing the reader that a 1 Matias Tarnopolsky, “Asyla,” program notes, City of Birmingham Symphony Orchestra, Birmingham, 1997. “‘You’re living in listed accommodation, writing for orchestra,’ says Thomas Adès, ‘or putting on someone else’s clothes and feeling absolutely new yourself.’” 2 discussion of its structural aspects is worthwhile is doubly important. Still, it is not the purpose of this paper to convince, but only to lay forth my findings and allow the reader to decide its worth. In the end, I am forced to talk indirectly around a piece of music, one which speaks indirectly to me, to a reader who cannot help but receive this paper indirectly. The degrees of separation between music and talking about it are inevitable. Nevertheless, I will conduct this analysis with the aim of narrowing the gap to within as few degrees as possible. Asyla is the third work for orchestra by Thomas Adès, begun in 1996, completed and premiered the following year by the City of Birmingham Symphony Orchestra. The piece is in four movements and, as remarked in the past by Tarnopolsky and others, is the closest to traditional symphonic structure Adès has ever come. The piece, however, is less like a symphony and more like an extended tone poem à la Richard Strauss. It contains brief pauses in between the movements, suggesting that the individual movements are less self-contained than they would be in a 19th-century symphonic work. Among the most prominent features found in Asyla is its polystylism,2 a concept formulated by Alfred Schnittke in the late 1960s. He defines it loosely as the use of interacting styles, whether by quotation or allusion, and he focuses on the notion of polystylism as a dialogue with the past, a kind of overt nodding to one’s predecessors and influences. One can cite Stravinsky, Berio and Berg as examples of composers who have used polystylism in one form or another. Although Adès’ music does maintain a dialogue with music of the past, this dialogue at times extends to that of the present as well. From his earliest works, Adès has shown considerable interest in a number of 2 For a more comprehensive definition, cf. Alfred Schnittke, A Schnittke Reader (Bloomington: University of Indiana Press, 2002). 3 disparate musical styles, including the work of Billie Holiday (Life Story3), big band music and funk (Living Toys4), English Renaissance music (Darknesse Visible5) and the keyboard works of François Couperin (Sonata de Caccia6). Asyla is another example. Its first movement features a section loosely in the style of big band music, surrounded by late Romantic orchestral gestures. The second movement has the broad yet chamber-like characteristics of Strauss' tone poems, as well as a bit of Renaissance polyphony, while the third movement is a rickety mixture of big band and techno. The fourth movement is primarily a shadow of what came before, a brief coda which includes themes from the previous movements. One could detect an influence from Berio's Sinfonia or Bruckner's Symphony no. 8 here, pieces whose last movements superimpose motives and themes from the previous movements. Perhaps, though, returning to an earlier point, there is a bit of the musicologist in Adès, for could not his incorporations of other styles into his music be a kind of commentary on those styles? If so, then Asyla is a sort of grand commentary on a multiplicity of styles, those to which Adès himself feels very close. And what of the meaning of the work’s title? Is Adès trying to convey a sense of the insane asylum, even political asylum, or is he merely playing on the ambiguity of the term? Another way to 3 Thomas Adès, Life Story, op. 8 (and 8a), 1993. This is a piece originally for soprano, two bass clarinets and string bass, with a text by Tennessee Williams. Adès mentions in the performance notes that the late style of Billie Holiday should be used as a model for the singer. 4 Adès, Living Toys, op. 9, 1993. This work for 14 players is divided into several movements, the fourth of which (entitled “Battle”) is a mixture of big band and funk, making use of a talking trumpet technique prominent in jazz, as well as a near direct quotation of James Brown’s “I feel good” (in particular, the upward arpeggiated figure). 5 Adès, Darknesse Visible, 1992. This solo piano piece is an explosion of John Dowland’s “In darknesse let me dwell…” 6 Adès, Sonata da Caccia, op. 11, 1993. Written for harpsichord, baroque oboe and horn, this piece is an homage to French Baroque music, and in particular the music of François Couperin (for whose music Adès has had a great affinity), made evident in the work’s harpsichord figurations. 4 look at it is that Adès is portraying, perhaps, musical asyla, in the form of these different styles, many of which are outside the classical arena (techno, big band), or could at least transcend it (renaissance polyphony in sacred music). We will return later to both of these issues, and the latter, in particular, we will explore after a sufficient analysis of the whole piece has been conducted. Of course, these issues, as well as the brilliant and tightly wrought orchestration of Asyla, say nothing of the materials of the piece, how they are created, and how they are assembled into larger constructions. Adès does use themes and motives recurrently; he tends to use many of the same chords, and even hints at glimmerings of tonality. Tarnopolsky, in fact, insists that the key of Eb minor is Asyla’s tonal center. Whether he got his information directly from the composer or not, Tarnopolsky, as we shall see, may have been incorrect in this assertion. Any hints of tonality are actually derived from superimposed strands of interval cycles. Though these will be discussed momentarily, suffice it to say that many of the themes, motives and harmonic scaffolding for the work can all be derived from complex interweavings, overlappings and superimpositions of interval cycles. What follows is a harmonic, motivic and structural analysis of Asyla’s first two movements in relation to interval cycles and their generative properties within the piece. Though I will be making some mention of the remaining movements, I have restricted this paper to the first two for two main reasons: first, many of the ways that interval cycles work throughout the piece are succinctly demonstrated in the first two movements. Second, an analysis of all four movements would be too broad a scope for this paper. This paper will be divided into three main sections: 1. an outline of the raw materials of 5 the piece, including a description of interval cycles and the ways in which they function within Asyla; 2. a description of how the raw materials create motivic unity and development, with particular focus on how interval cycles are superimposed to generate motivic and harmonic structures (in addition, I will be comparing some of my results to those of John Roeder, who conducted some prior analysis of Asyla in a paper given at the 2001 meeting of the Society for Music Theory in Philadelphia); 3. a discussion of the influence of interval cycles and the materials they generate on the global structure of the piece, with a brief discussion of what more needs to be done with regard to the analysis of the whole work. David Headlam, in his extensive and wonderfully clear article about George Perle’s 12-tone tonality, defines interval cycles as “repeated instances of the same intervallic distance,” which occur in pitch space, but “can also be generalized in pitch- class space.”7 Though there are in fact twelve distinct interval cycles, only the first eight, ic0 through ic7, are shown below (Table 1), since these are the most immediately relevant to the current analysis: ic0-cycle 0 ic4-cycle 048, 159, 26T, 37E ic1-cycle 0123456789TE ic5-cycle 05T3816E4927 ic2-cycle 02468T, 13579E ic6-cycle 06, 17, 28, 39, 4T, 5E ic3-cycle 0369, 147T, 25E ic7-cycle 07294E6183T5 Table 1: Interval Cycles 0 through 7. Note here that I am using integers, where T=ten and E=eleven, to describe pitch classes Bb and B, where C=0. In looking at the table above, we notice that certain interval cycles, namely ic2, ic3, ic4, and ic6, have multiple transposition levels. This property 7 David Headlam, “An Overview of George Perle’s Twelve-Tone Tonality and Intersections with Klumpenhouwer Networks,” unpublished paper, Eastman School of Music, May, 2003. 6 allows for an interval cycle to combine with itself to form larger modes, taking, for example, any two ic3-cycles that are related by T1, and interweaving them to create an octatonic scale. Likewise, it is interesting to note that an ic7-cycle (the cycle of 5ths) can be made up by interweaving two ic2-cycles: 0 2 4 6 8 T 7 9 E 1 3 5 Ex. 1: Ic7-cycle created out of two ic2-cycles. In addition, interval cycles can be derived from each other. The ic1-cycle, for instance, is a source for the remaining cycles; likewise, the ic4 cycle can be derived from the ic2 cycle, and so on. These are exactly the sorts of properties which Adès takes advantage of, as can be seen in a couple of instances in the first movement of Asyla. The passage below is a reduction of Asyla’s opening bars (1 – 7), whereby pairs of fifths, separated by tritones, are ascending by major seconds: Ex. 2.1: Opening fifths of first movement. Interpreting this passage in terms of interval cycles, the pairs of fifths can be related to each other by the ic6-cycle, while the top and bottom notes of each fifth spell out both transpositions of the ic2-cycles. There is, however, a catch here, in that the projected final fifth of A/E is substituted by a major third C/E. This represents the first instance in Asyla of a trend of pattern disruption, in which a projected system or strand unfolds and 7 then is fractured. In this case, the C/E major third creates an almost quasi-tonal cadence (IV – V – I) and limits a pattern which could conceivably continue indefinitely. This is yet another property of the interval cycle—it is interminable, or at the very least, it could repeat itself indefinitely. Note, however, that despite the missing A in the pattern, the integrity of the bottom ic2-cycle is nevertheless maintained. Another example of the use of interval cycles in Asyla comes immediately after its opening passage, in the initial horn melody (bars 14 – 20). Here a rising melodic line, which serves as the primary thematic material for the first movement, is composed of an octatonic collection whose pattern breaks at the very end before it gives way to a series of descending fifths. In terms of interval cycles, the octatonic collection is simply an interweaving of ic3-cycles that breaks just before the entire collection is presented, yielding to a descending ic7-cycle (or ic5-cycle in terms of pitch-class space). Copyright(cid:211) Faber Music Ltd, 1999. Ex. 2.2: Opening horn melody (sounding pitch) of first movement. Subsequent presentations of this melody typically undergo slight variations, shifting notes up or down by only a semitone. This, of course, leads to a complete breakdown of the interval cycles to the point that they either no longer exist, or devolve into another 8 kind of pattern of expanding or contracting intervals. This will be discussed in the second section of this paper in far greater detail. There is one further example of Adès’ basic use of interval cycles in Asyla to explore, this time in the second movement, where one of its manifestations is most clearly presented. In this case, interval cycles are superimposed on one another to create triadic (or trichordal) harmonies. A reduction of the bass and cello parts of bars 76 – 88 below will demonstrate how this works: Ex. 2.3: Bass and cello parts, bars 76 – 88. Immediately intriguing is the voicing of the three interval cycles, beginning with what is essentially a C-minor triad with the fifth on the bottom. The fifths descend by ic2-cycles, arranged in a similar way to those in Example 2.1 (which are ascending), while the top voice, starting from Eb, descends by an ic1-cycle. The progression yields a series of rather familiar trichords (minor triad, major triad), as well as a few unfamiliar ones. As we shall see, these trichords appear throughout the entire piece in various guises. What is also interesting about this progression is the way in which it serves to scaffold a rather lengthy passage, by which I mean that this progression provides a structural support mechanism over which layers of polyphony may be added. This is similar to the ways in 9 which Alban Berg would structure passages in his own works,8 and in fact, Berg frequently used interval cycles, from his earliest works all the way to his final opera, Lulu, in much the same way as Adès uses them, not only in Asyla, but in almost all of his works. A passage from Berg’s Wozzeck will serve to illustrate this point: Ex. 3.1: Excerpt from Wozzeck, Act II, bar 380. The above passage, taken from George Perle’s article on Berg’s master array of the interval cycles, demonstrates a passage from Act II, scene 3, which features superimposed, ascending interval cycles, increasing in interval-class by one semitone from the bottom voice up. This yields, between voices, intervals of gradually increasing size by one semitone because of this relationship between interval cycles: 8 George Perle, “Berg’s Master Array of the Interval Cycles,” The Right Notes: Twenty-three selected essays by George Perle on twentieth-century music, Stuysvant, NJ: Pendragon Press, 1995. In this article, Perle discusses the ways in which interval cycles play out not only in Berg’s music, but in selected works of Bartok and Stravinsky as well. 10 0 3 6 9 0 2 4 6 0 2 4 6 0 1 2 3 0 1 2 3 0 1 2 3 Ex. 3.2: Intervallic differences between interval cycles. The result is the same as the passage in Example 2.3, except that the interval cycles in that example are descending. Adès often makes use of descending cycles whose interval classes differ by one semitone. More importantly though, as stated before, most of the harmonies in Asyla (usually in the form of trichords) are derived from these progressions of descending interval cycles, in particular the one presented in Example 2.3. Perhaps this is a good time to delve deeper into the complex ways in which Adès uses these cycles to create motivic and harmonic unity in Asyla. We will begin, however, with the second movement. The opening bass oboe melody of Asyla’s second movement, and indeed the second movement in general, is one of the clearest examples of how interval cycles are used to generate larger harmonic strands, and how these strands can be combined and varied to yield tightly wrought passages of incredible variety. Here it is shown below: Copyright(cid:211) Faber Music Ltd, 1999. Ex. 4.1: Opening bass oboe melody of second movement. The melody is essentially made up of pairs of minor seconds separated by fifths, which gradually expand by semitone over the course of three “passes.” John Roeder, in his paper on cooperative rhythmic continuities in Adès’ music, describes this melody in