Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
MUSIC
Robert Reigle
Revised January 29, 1999
Writing in the LA Weekly for January 8-14, 1999, Alan Rich presented a
fascinating soundscape of twentieth-century written music. His article cited 100 pieces
that for him "define where composers have tried to take their art" in the twentieth
century. It spurred pleasant memories and a desire to encapsulate my own definition of
the most important sounds created by composers in the "non-Eastern" tradition. Our lists
concurred on five pieces in the first quarter century (5, 7, 8, 21, 22), six from 1925-1949
(28, 34, 38, 40, 44, 45), three from 1950-1974 (51, 54, 59), but only one work (90,
Ligeti's Piano Etudes) in these final years of the century. Rich seems more familiar with
the earlier repertoire than I am, but less broad when it comes to more recent endeavors,
while my own bias results from falling in love with post-World War II music and
expanding backwards from there.
On the subject of biases, I should mention that my palette prefers pre-commonpractice-period music to that written from 1600 to 1900 (with the mighty exceptions of
Bach, Beethoven, and a few pieces by other composers), that my connection with jazz
preceded my appreciation of non-Eastern music, and that masterpieces of music from
New Guinea, as well as from many of the 205 countries I have recordings from, move me
as much as do the pieces listed below.
Rather than choosing pieces that "define" the music of our century, I sought to
identify those works that present or develop the ideas having the greatest meaning to this
one listener. I found only 20 basic ideas, rather paltry compared to, say, the 29 "issues
and concepts" Bruno Nettl discussed in his book covering a similar time span, The Study
of Ethnomusicology (Urbana: University of Illinois Press, 1983).
To my surprise, twelve of my ideas appeared during the first quarter of this
century, another five came between 1925 and 1949, and the final three by 1974, leaving
the last 25 years purely in the realm of development as opposed to discovery. Of course
this only means that the new, more recent ideas simply remain hidden at this early stage
in their existence. For the moment some may seem like mere development, while others
may have not made it to the light of recording, or even of being performed yet (as
happened in the past with works by Ives, Cowell, Scelsi, etc.), and others are right in
front of my ears but I cannot hear them.
Before I get to the ideas, a few comments are in order. First, time boundaries are
usually fuzzy, so the date a piece was completed may not be the date its idea was
conceived. Likewise, many of these ideas were improvised first and composed later. For
this list I limited myself to seven pieces by any given composer, but found that slightly
impractical, so I reduced the number to six.
The first selection (composed in 1895) is cheating, but contradicting a preestablished guideline fits with the spirit of twentieth-century concepts of reality. I chose
this as a cornerstone of minimalism. My apologies to those who feel that a different term
should be used when discussing music outside the styles of
Conrad/Young/Riley/Glass/Reich/Adams (perhaps we can refer to their styles as
Minimalism), or that no connection can be made between reduction of parameters and the
idea of minimalism. I do so because, like most of the new ideas presented here, I believe
that the roots of minimalism might be traced back some time, and that those roots
flowered not only with Minimalism, but with a new way of turning inward, towards the
single tone and its constituent parts. Many cultures have songs intoned on a single pitch.
Elliott Carter reminded us of Henry Purcell's 1680 Fantasia upon One Note. But
Vexations (1) and Serenity (18) were part of the expanding zeitgeist that continued to
develop by focussing on different elements to limit or repeat (27, 76, 82), culminating in
a style that became the central focus of a number of composers (69).
1900-1924
1. SATIE: Vexations (1895, but not performed until the 1950's, I believe)
2. IVES: Let There Be Light! (1901)
3. RAVEL: Jeux d'eau (1901)
4. MAHLER: Symphony No. 7 (1905)
5. DEBUSSY: La Mer (1905)
6. SCOTT: Lotusland (1905)
7. IVES: Central Park in the Dark (1907)
8. MAHLER: Symphony No. 9 (1909)
9. MAHLER: Das Lied von der Erde (1909)
10. SCHOENBERG: Five Pieces for Orchestra (1909)
11. SCHOENBERG: Three Pieces for Piano, Op. 11 (1909)
12. SCHOENBERG: Herzegewaechse (1911)
13. BARTOK: Allegro Barbro (1911)
14. IVES: Orchestral Set No. 2 (1912)
15. IVES: In Re Con Moto Et Al (1913)
16. SCRIABIN: Prefatory Action of Mysterium (1915)
17. HOLST: The Planets (1916)
18. IVES: Serenity (1919)
19. MILHAUD: Les Choephores (1919)
20. RUDHYAR: Tetragrams (1920-1927)
21. BERG: Wozzeck (1921)
22. VARESE: Ameriques (1921)
23. VILLA-LOBOS: Rudepoema (1921-1926)
24. SCHOENBERG: Die Jakobsleiter (1922)
25. COWELL: The Banshee (1923)
1925-1949
26. IVES: Sunrise (1926)
27. RAVEL: Bolero (1927)
28. BARTOK: Quartet No. 4 (1928)
29. VILLA-LOBOS: 12 Etudes for Guitar (1928)
30. WEBERN: Symphony (1928)
31. CRAWFORD SEEGER: Three Chants (1930)
1975-1998
76. GABER: The Winds Rise in the North (1975)
77. GRISEY: Partiels (1975)
78. XENAKIS: N'Shima (1975)
79. SCELSI: Maknongan (1976)
80. CHOWNING: Stria (1977)
81. XENAKIS: La Legende d'Eer (1978)
82. FELDMAN: Coptic Light (1979?)
83. NONO: Fragmente - stille, an diotima (1980)
84. NOERGAARD: Symphony No. 4 (1981)
85. XENAKIS: Tetras (1983)
86. MALEC: Ottava bassa (1984)
87. NONO: Prometeo: Tragedia dell'ascolto (1985)
88. SCELSI: Quartet No. 5 (1985)
89. UITTI: 2 Bows (1985-1994)
90. LIGETI: Etudes, Books 1 & 2 (1985-1998)
91. KAGEL: Quartet No. 3 (1987)
92. RADULESCU: Byzantine Prayer (1988)
93. YUASA: Terms of Temporal Detailing (1989)
94. ESTRADA: ishini'ioni (1990)
95. LIGETI: Violin Concerto (1992)
96. HOSOKAWA: Vertical Time Studies I-III (1992-1994)
97. BARRETT: Negatives (1993)
98. NIBLOCK: Early Winter (1993)
99. AVRAM: Axe 1 & 2 (1998)
100. DUMITRESCU: Meteors & Pulsars (1998)
Harmonic intervals smaller than thirds never died out in many traditions around
the world, but were largely absent during the European common-practice period. They
were brilliantly re-introduced in our century by, among others, Charles Ives (2). A
sophisticated language developed, with the piano launching the eye of the hurricane (11,
13, 20, 23, 49, 59, 92). This expansion of the range of what our ears can unravel within a
sound conglomerate occurred in jazz as well. Thus, I break my own rule a second time
by including one jazz composer, Cecil Taylor (75), whose breakthrough use of clusters
starting in December 1955 still escapes notice.
(6, 16, 24, 36, 37, 50, 74, 92). Twentieth-century music could be seen as a return to the
primacy of the spirit, after its secondary status during the common-practice period.
A number of important twentieth-century ideas are interrelated. Thus, the
sustained sounds in Ives' Central Park in the Dark (7; "silent darkness"--Ives), The
Unanswered Question ("The Silences of the Druids"), and the slow movement of his
fourth symphony, relate to timbre developments (10, 80, 94), layering (14, 51), calmness
(34, 48, 53, 83, 87), spirituality, new ideas about silence and what constitutes music (54),
focus on a single parameter, and eventually pieces based on a single note (58, 77, 79, 88,
98).
Thoughts about what constitutes a note relate to new ideas about existence that
flourished in philosophy as non-Easterners internalized Eastern tenets that had for the
first time been translated into European languages during the nineteenth century. Scelsi,
for example, studied the philosophy of Rudolf Steiner as well as that of Eastern religions.
Scelsi has been able to illuminate the inner life of the single note, thus clarifying and
expanding our definition of it (58, 74, 79, 88). Moving in the opposite, outer direction, a
living note's vibrato expands to become a glissando. While Xenakis is usually credited
as the king of the glissando, Ives (15) and Luigi Russolo, unbeknownst to each other,
were the first to write music incorporating several glissandi moving at different speeds, in
1913. Where is the note? It cannot be found at any slice of it along its route because its
fundamental character is movement (see Analysis of Going and Coming a commentary
on Nagarjuna's Treatise on the Middle Way, Dharamsala, India: Library of Tibetan Works
and Archives, 1976). Scelsi's and Xenakis' "note" were now conceived of as a moving
entity, something with life.
this field were John Foulds and Julian Carillo, who in 1896, again unbeknownst to each
other, wrote the first quarter-tone pieces. I list a later piece by Foulds (32), as most of his
early music was destroyed. There is now an organization devoted to this kind of music,
here in America.
Definitions of music are now broader than they were a century ago, largely
because of the production of sound recordings. The vague impressions of Balinese music
by Debussy were followed by the "literal" transcriptions of Colin McPhee (43), and
finally by a number of gamelan orchestras around the world, in turn allowing some crossfertilization between Balinese and non-Eastern composers.
Achieving the non-Eastern interpretation of Eastern serenity, composers finally
started specifying the amount of vibrato performers should use, rather than leaving it up
to the fashion of the day. Scelsi specified non-vibrato in his first quartet, from 1944
(movement 4, measures 109-26). But it was Cage who really brought the idea to the
forefront by writing a whole, 22-minute work whose non-vibrato was central to the main
idea of the piece (53).
Cage's most famous composition, 4'33" (54), also had precedents. However, the
long pauses in Beethoven serve to focus attention on the sounds before and after them,
while the five-second pause Mahler called for after the first movement of his Symphony
No. 2, clears the air after the long and heavy task of listening to the first movement.
Cage's piece, on the other hand, brings home a new definition of music, sound, and
silence. It led to similar explorations by Kagel, Young (releasing a butterfly), Schnebel
(Nostalgie for conductor only), Ligeti (Trois Bagatelles), and the Art Ensemble of
Chicago.
10
11
12