Feldman’s Violin and Orchestra: pattern as compositional resource and homogeneity/heterogeneity contrasts as orchestral strategy

1. Introduction

Violin and Orchestra (Feldman 1979), Morton Feldman develops some formal issues from his aesthetics¹, such as pattern composition, slow pace, displacement of events, notational images, floating meters, extreme of temporal duration, an so on².

Violin and Orchestra demands a large orchestra. Its instrumentation is piccolo, three flutes, three oboes, English horn, three clarinets (one Eb Clarinet), three bassoons, one contra bassoon, three horns, three trumpets, three trombones, one bass trombone, one tuba, four percussionists playing several instruments, two harps, two pianos, and strings.

In this paper we will propose some analytical approaches to the work, in order to reveal some patterns an the relationships between the several musical ideas. We will also point out some strategies of orchestration in Violin and Orchestra, and the relationships between orchestral and violin writings in general.

We will consider three different sections for the piece, according to the different Feldman’s treatments for the orchestral writings, the texture, and the violin writing. As other late Feldman’s works, it is not possible to say exactly the point where another section takes place. We always deal with the ambiguity and unpredictability. Although, for our analytical concerns, we will consider, approximately, the first part from page 1 through 21; the second part from 22 through 51, and, finally, the last section from 52 through 77.

We will adopt a convention for the pages and system in our analysis. The brackets represent the pages and the exponential numbers represent the system. Thus, [1] means page 1, and [2¹] means page 2, system 1. Finally, it is important to notice that all figures in the analysis 2.1 refer to the first appearance for each pattern in the piece.

2. Analysis

2.1 Patterns

In this paper, we consider a pattern as specific sort of constructive elements, recurring events/things, perhaps elements of a set of objects. Considering the composition with patterns demand a forehand question: patterns in what sense? What is pattern? Why patterns? What is the difference between pattern and repetition? Pattern needs repetition? If we can consider a pattern as a recurrence of events in a specific context, then the repetition has an important role in this sense. But must the pattern be predictable? In Feldman’s works, predictability is not common in the musical flow. How is possible compose unpredictable patterns? Feldman operates with degrees of difference and similarity. We can refer here to Sabbe idea of “similar musical information can be present in similar or different contexts” (DeLio 1996, p. 9).

My music has been influenced mainly by the methods in which color is used on essentially simple devices. It has made me question the nature of musical material. What could best be used to accommodate, by equally simple means, musical color? Patterns (Feldman and Zimmermann 1985, p. 128)

In our analysis for Violin and Orchestra we will focus on the patterns, in order to point out the source of materials and the connections between them. We will consider 21 different patterns throughout the composition. We did not consider the introduction ([1-2]) and the coda ([71]) as patterns. The different solos in the solo violin part, those appear on [21], [23], [29], [31], [47], [49], [58], [65], [68], [71], and [77], are consider as a pattern itself. We could analyse how the elements and materials are engendered in the solos, but it will not be a subject in this paper. Below, we shall shortly describe the patterns, in their general characteristics, in order to point out Feldman’s compositional strategies.

The first pattern is a superimposition of solos and long notes (Figure 1). This pattern occurs on [3¹], [4¹²³] [5¹²], [31¹²³], [55¹²³⁴⁵], [62²³], and [63].

The second pattern is a combination between three elements. First, a percussion gesture (first appearance with marimba, temple-blocks and timpani, for instance); second, a block of notes in different instruments; and finally, pointillistic events (Figure 2). Feldman applies this pattern on [3¹], [4¹], and [11¹].

The pattern 3 is a superimposition of long notes (gongs on the example) and a group of rapid notes framed by silences in the strings (as a texture). We can see this pattern on [5³], [9¹²], and [17¹²].

The fourth pattern is one of the most used by Feldman throughout the composition. This is a static one, since Feldman keeps the notes, the meter, the register, and so on, in order to generate a changeless musical idea (Figure 4). This pattern occurs several times during the work (on [6], [7], [20²], [22], [23²³], [25¹²], [26¹], [37], [38], [39], [47³], [49²], [51²], [58²], [59³], [65²], [77]), often in different instruments, registers, with different notes and meters, although maintaining the static design.

In the pattern 5, Feldman combine the solos (violin) and groups of notes in decrescendo, initially in string with harmonics and after in other instruments (Figure 5). These groups are surrounded by silences of different lengths. The pattern appears on [8], [9¹²], [10¹²], [11¹], [21], and [27].

In the pattern 6 we can notice superimposition and juxtaposition of two elements (Figure 6). First, the glissandi in the solo violin, and, in the other hand, the textures (mainly in the woodwinds). This pattern appears on [11²], [12¹²(variation)], [13], and [14-15] (transition).

Pattern 7 is a combination of long notes (mainly strings in harmonics), solos (first glissandi, and after other designs), with a response (first woodwinds intremolos and after with other instrumental combinations). Feldman uses these elements in different ways through the piece, nonetheless maintaining the main musical idea (Figure 7). We can see this pattern on [15], [16¹ and 16²] (response), [17¹²], [18²], [19²] (response), [22²], [27], [29-30] (response combination), [32-33] (response-tutti).

The solos with notes framed by breath marks form the pattern 8. In the last section of the piece, Feldman applies this idea to the orchestra (tutti) (Figure 8). This idea appears on [17¹], [19¹²], [20¹], [21¹], [31²], and [68] (tutti).

In the ninth pattern, Feldman uses several different groups of long notes, in dissonant and heterogeneous orchestral combination (Figure 9)³ This is a recurrent group in Violin and Orchestra, appearing on [18¹], [22], [42²] (strings and percussion, variation), [45], [46¹²], [52¹] (framed by silences), [54] (with fermatas, framed by silences), [58¹] (with glissandi and fermatas), [59²] (with glissandi and fermatas), [65³] (with glissandi and fermatas), [67] (with fermatas and rests), and [69] (with rests).

In turn, the pattern 10 consists in a combination of three elements: solos (first, and mainly, three notes in huge upward skips, and after in harmonics with small glissandi), blocks of notes framed by silences (harp), and combinations of long notes (mainly harmonics in strings) (Figure 10). This pattern can be recognized on \ [19¹], [26²], [28²], and [38].

The eleventh pattern consists in a contrary movement between two different lines in heterogeneous instrumental combination, followed by silences (Figure 11). We can notice this pattern on [20¹], [21¹] (in combination with notes framed by breath marks), and [23¹] (transformed).

In the pattern 12 Feldman applies different colors for the notes, using spellings between piccolo and solo violin (Figure 12). This pattern appears on [21¹], [28] (extending the idea for the orchestra), and [51¹].

The pattern 13 deals with regular attacks, forming a more recognizable rhythmic structure (Figure 13). This is a recurrent pattern, appearing on [23²³] (actually, the idea starts to appear on [23¹], as a transition), [24³] (combined with long notes), [41¹] (combined with long notes), [41²] (dephasing between the groups), [42¹], [43²³], [43⁴] (combined with long notes), [46²], [49⁴], [59²] (faster), [46²], [71¹] (combined with harmonics and breath marks), [71²], [72], and [74-71²].

The gestures with rapid repeated notes (horn and after violoncello) combined with the attacks (harp and percussion) form the fourteenth pattern (Figure 14). This pattern appears on [32], [39], and [43¹].

The pattern 15 is a superimposition of solos (first harmonics, then glissandi and after pizzicati) and a texture (with a lot of movement) in the strings (and then percussion), followed by a response more static in different combinations (Figure15). This pattern appears on [34-35] (response: orchestra, sustained notes), [36-37] (woodwinds with frulatti), [56] (brass, a block of long notes), [56²] (juxtaposition between the solos and textures), [56³], [57¹], and [61¹] (in these last three, there are just superimposition between the textures and the responses, without the solos).

In the pattern 16, Feldman uses rapid groups of notes played together (first strings in harmonics, after other combinations), juxtaposing with silences, solos, and groups of long notes in decrescendos/decrescendos (Figure 16). Feldman applies these elements in several manners, creating different designs based upon the same elements, most of the time using mirror relationships. We can see this pattern on [40] (groups: strings in harmonics, long notes: woodwinds), [42¹], (groups: in woodwinds and brass), [44] (solo in harmonics - long notes: harps, pianos and glockenspiel - groups: woodwinds - harps, pianos and glockenspiel - groups: strings in harmonics), [51¹] (long notes: glockenspiel - solo - silence - long notes: clarinets and solo violin - silence - long notes: clarinets and solo violin - silence - long notes: glockenspiel - solo - silence - long notes: clarinets and solo violin), [52¹] (solo - silence - long notes: woodwinds - silence - solo: fermatas - silence - long notes: glockenspiel - solo), [53], and [57] (these last two in different combinations).

The idea of attack and resonance is the main idea for the pattern 17 (Figure 17).⁴ We can see this pattern on [45¹²], [47²], [49²] (just the resonances), [52²], and [59¹²].

The pattern 18 is a combination of solos (glissandi in double-stops), groups of long notes and the gesture of septuplets (horn) (Figure 18). This pattern appears on [47¹²], [49²³], [58¹] (just the solo), [59¹], and [66] (superimposition).

In the pattern 19, Feldman uses three different elements: a figure played together by a large group of instruments; a texture in the timpani, with displacements in quintuplets (using dots); another texture in the strings, with harmonics (Figure 19). The composer interplays these elements in different ways. The pattern appears on [48], [50] (different combination), [59³] (just timpani texture), [60] (retrograde), and [63] (textures in relation to other ideas).

The gesture with lines in specific directions (both upward and/or downward) represents the pattern 20 (Figure 20). This pattern appears on [53], [54²], [57²], [76¹], [76²³], and [77].

Finally, the points framed by silences are the pattern 21 (Figure 21). This pattern appears on [62¹] and [64¹²]/

2.2 Orchestral strategies: homogeneity and heterogeneity

In order to point out some orchestral strategies in Violin and Orchestra, we will focus on two different treatments: homogeneity and heterogeneity. We consider homogeneity as a combination of instruments with the same acoustic nature, forming an unique sound. In the other hand, heterogeneity is the combination of different sonorities, a more recognizable difference between the instruments.⁵ In this section of the paper, we will focus on the question how Feldman uses the different instruments and groups of instruments, in order to underline some general strategies for the orchestra writing.

First, it is important to notice that until the page 22 there is a predominance of different homogeneous groupings of instruments, alternating with the soloist. In the Figure 22 we show a passage with a combination of different homogeneous groupings. We marked in the score with squares the different homogeneous groups (Figure 22). In the first group marked, Feldman uses percussion instruments together (marimba, temple-block and two timpani), followed by the one measure for the solo violin, and then a second group which Feldman uses low notes (trombone, tuba and contrabass). After three more measures for the solo violin, Feldman uses the woodwinds to form the new group (oboes and clarinets), followed by a new low-notes group (contra bassoon, trombones and contrabass).

From page 22, Feldman starts to insert some heterogeneous groups (Figure 23), in order to break the homogeneity. Gradually, these groups are gaining importance throughout the following pages. Thus, the dialogic relationship between heterogeneity and homogeneity becomes an important feature of the piece.

Gradually, the heterogeneous groups, in his turn, are gaining importance. More and more we can hear different combinations of heterogeneous sonorities. Toward the end of the piece, the heterogeneity plays the predominant hole in the orchestral writing (Figure 24 and 26).

In the violin writing of Violin and Orchestra, Feldman applies a huge variety of instrumental effects. We can listen glissandi, different colors achieved through the spelling⁶, double stops, harmonics (natural and artificial), pizzicati, high register, and combinations two or more of these techniques. During the piece, Feldman constructs dialogs between the soloist and the orchestra in different ways. The treatment that Feldman applies in the first part of the piece (until [21]) is antiphonal: different homogeneous groups alternating with the soloist (as we have already discussed early). In the other hand, Feldman wrote several passages where the soloist play alone, almost almost like a cadenza (as we have already underlined).

In the other hand, in the second part, the violin joins to the rest of the orchestra to form heterogeneous groups (Figure 26).

Another Feldman’s strategy is the imitating treatment, where the soloist’s material is imitated by the orchestra (Figure 27).

In Violin and Orchestra, Feldman uses several strategies to the orchestral writing, for the violin writing and different combinations between these two instances. Feldman’s strategies for orchestral writing are important elements of coherence throughout the piece.

3. Final Considerations

Analysing Violin and Orchestra we could find different procedures for composing with patterns, helping to point out some relationships between different musical ideas through the piece. The next step for this analysis would be connect the different patterns, in order to propose further connections to the materials in large scale. For instance, the pattern 15 is clearly related to the 7; in and, finally, the pattern 20 could be seen in relation to the 11.

It is important to notice that the strategies for the relationships between violin and orchestra do not represent a traditional way of thinking. This is not a Concerto, in a traditional sense. There is a different nature in the Feldman’s writing, for the combinations and developments between the soloist and the orchestra.

We can point out many important contributions that one can learn in Violin and Orchestra: how to connect different materials in large scale; how to combine different instrument groups in heterogeneous and homogeneous configurations; how to develop and combine different elements in a pattern; how to write for a soloist and orchestra in an inventive way in a different approach than the traditional concerto. It is a challenge creating an approach to a large work as Violin and Orchestra, however, it can offer several ideas to aesthetics and composition.

References

Adler, Samuel. 1989. The Study of Orchestration. 2 ed. New York: W.W. Norton & Company.

Blatter, Alfred. 1997. Instrumentation and Orchestration. 2. ed. New York: Schirmer Books.

Brown, Howard Mayer. 1980. “Orchestration”. In The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie, Volume 13. London: Macmillan Publishers.

DeLio, Thomas, ed. 1996. The Music of Morton Feldman. Westport, CN: Greenwood Press.

Feldman, Morton. 1978. Why Patterns? London: Universal Editions. Music Score for flutes, piano and glockenspiel.

_______. 1979. Violin and Orchestra. London: Universal Editions. Music Score for violin and full orchestra.

_______. 1980. Trio. London: Universal Editions. Music Score for violin, violoncello and piano/glockenspiel.

_______. 1982. For John Cage. London: Universal Editions. Music Score for violin and piano.

_______. 1983. Crippled Symmetry. London: Universal Editions. Music Score for flute, piano/celesta and vibraphone/glockenspiel.

Feldman, Morton, and Walter Zimmermann. 1985 Morton Feldman Essays. Kerpen: Beginner.

Notes