The main idea of serial music is that elements of the row are all equal in rights and governed by the order in which they appear. To abolish the notion of hierarchy between sounds, Schoenberg used serialism, but applied it to only one of the four fundamental parameters (pitch, duration, timbre, dynamics): the pitch. Using the twelve tones of the chromatic scale, Schoenbergian serialism reveals itself to be also dodecaphonic, which is why we often associate the twelve tone technique with serialism.

Technically, the tone-row is composed of twelve tones of the tempered chromatic scale, set in an order defined by the composer but each tone can appear once and only once in the row. The number of possible rows is very high, in mathematical terms, it is a permutation of 12 elements, 12! (1x2x3x4. … x12) So 479,001,600 possibilities. The composer, once the row has been defined, can use it in various forms:

• - prime form (Grundgestalt) , so without change
• - retrograde , the prime form is taken backwards (from the last note to the first)
• - inversion : prime form turned upside-down.
• - Retrograde inversion combination of the two previous changes

Each of these forms can also be transposed to the other eleven degrees of the chromatic scale, bringing the number of possible forms of the same row to 4+4×11=48. The composer may play several tones of the row simultaneously (in vertical form, so “chords”) or horizontally, but change registry, or overlay different speeds. We can clearly see that the possibilities are almost endless, but more important, the row can not be regarded as a theme in a classical meaning, as it is not easily recognizable melodically, but is more like a succession of intervals.

One can deduce important conclusions from the foregoing :

• 1. Serial does not mean dodecaphonic: the tone-row may be composed of less than twelve sounds (in Stravinsky for instance), more than twelve sounds (in microtonal music) or affect other parameters than the pitch (the rhythm for example).
• 2. Serial does not mean atonal: Some series can be chosen to evoke a tonal character
• 3. If works written by Schoenberg with his “method of composition with twelve tones which are not related” are basically atonal, dodecaphonic and serial, this is only a special case of atonality and serialism.

We have only spoken of Schoenbergian dodecaphonic serialism but we could also speak of dodecaphonic serialism in Western tonal music, also based on the twelve tones of the chromatic scale. Here are some examples you might find surprising : we can find a twelve-tone row in the recitatives of Mozart’s Don Giovanni , or at the beginning of Liszt’s Faust Symphony or in the fugue of Strauss’ Also sprach Zarathustra … Amazing, isn’t it?

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Back to the twelve-tone technique. One can easily understand the word dodecaphonic, invented by Rene Leibowitz in France (later, I will speak longer of him as very close to Pierre Boulez). Dodeca, twelve and phonic, sound: Twelve sounds. Why twelve? Twelve is the number of pitches that consitute the chromatic scale. Roughly, the twelve-tone technique is a compositional technique that uses a row of the twelve distinct sounds of the chromatic scale which can’t be repeated until they have all been played. I will not dwell on the technique itself, we will have later the opportunity to speak about prime, inversion, retrograde, and retrograde-inversion.

The twelve-tone system gives equal weight to each note of the semitonal scale, avoiding any hierarchy of sounds, then avoiding a priori any form of tonality.

The number twelve is fascinating : besides the fact that its mathematical properties are interesting to group notes equally, and thus enable games of symmetries, imitations, etc. within the same tone row. The division by twelve is one of the most common in our mind: 12 months, 2 × 12 hours, the alexandrine comprising 12 syllables, twelve zodiacal signs, dodecastyle temples … My idea is not to show a mystical of the number twelve, but to show that its properties have certainly had a strong influence on the elaboration of the tempered system, and thus the twelve-tone technique, using this temperament as it is.

The set of all twelve pitch classes form what is called the total chromatic. Surprising because it is only a total according to the conventions of the temperament, so conventions of the tonal system … The ear is capable of perceiving more than twelve pitches in an octave. Huge paradox for composers to use a material inherited by a system that they wished by every means to avoid. This may explain Schoenberg’s development towards a twelve-tone music rehabilitating tonal functions, and the race to complexity initiated by certain composers.

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At the start of this year, I tried to think about the directions my writings could take for 2010. It is thus self-evident that this blog will still be about piano and music, but I would like to give a new impetus and provide more didactic content. Let’s see what will 2010 be like.

First, I would like to introduce you to the world of music of the twentieth and twenty-first centuries and to convey my passion for contemporary works. Through a series of articles dealing with musical trends, composers themselves and their works, I would like to draw your attention to their logic and aesthetic. To some it may seem pretentious but I will humbly try to convert the recalcitrant and improve the knowledge of others.

At the same time, I will focus on the “problem” of interpretation and we will try to respond together to some of its inherent problematics. Which tools for the interpretation? How to make a coherent interpretation? A few questions among many others that I will try to answer from my, admittedly personal perspective.

I hope this menu will be suitable for everyone, and please also feel free to make your own proposals!

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She was born in Bernaville in the Somme department in Northern France region of Picardy on October 4, 1919. Accepted to the Paris Conservatory in 1932, she had studied piano, harmony and collaborative piano. Vocal coach at the orchestre National de France during the mid 1940′s, she taught sight-reading before becoming piano professor at the Paris Conservatoire.

She has served the music of her time with dedication and gusto.

Thank you Genevieve Joy, you will remain immortal in our hearts.

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Many thanks to Ionarts for the transcription into English:

Poème symphonique was composed by György Ligeti in 1962. We are presenting this work this evening. The concert, which we went to record in Rome, was presented by an orchestra of 100 performers. This rebroadcast is a television premiere. At the end of the concert, we will offer a brief explanation, but first listen and watch. The concert begins in one minute.

[the piece is performed]

Since its world premiere in the Netherlands in 1963, Poème symphonique for 100 metronomes has been very rarely performed in public. The complicated scenographic staging, the detailed preparation by hand, the need for around ten technicians to activate more or less simultaneously the 100 metronomes, makes the demand for performances limited. Thirty-two years after the premiere, the sculptor and installation artist Gilles Lacombe heard a recording of the work. Impressed, he decided to invent a machine able to perform the piece automatically. After six months, he set up this ingenious device. Ever since, Poème symphonique can be performed accurately, at any time, and in public. Please understand that at its world premiere in 1963, the concert was filmed by Dutch television. On that night, after the final tick-tock of the metronome, there was a heavy silence, followed by booing, screaming, and threats. The concert was never broadcast.

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Significant figure of contemporary musical life, Boulez fascinates me. Although criticized by many, he nevertheless remains a key figure of the last 60 years. Whether people like him or not, no one can deny that he greatly contributed to the advancement of musical thought.

And now let’s listen to an excerpt of Sur Incises performed by the Ensemble Intercontemporain conducted by Pierre Boulez himself.

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In order to celebrate his birthday, I offer you the fifth movement of Tout un monde lointain, his cello concerto with Maestro Rostropovich, which has become a classic of the XXth century. This concerto is amazing and makes me very jealous of cellists. I would dream of a concerto for piano…

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Lachenmann often talked about his compositions as musique concrète instrumentale. Continuously inventing playing techniques, he creates a totally new sound world, but also, in his pieces, puts performers to a severe test.

His works are regularly performed in all the big contemporary music festivals: Holland Festival, Ars Musica Brussels, Festival d’Automne (Paris), Steiericher Herbst (Graz), Huddersfield, Tage für Neue Musik (Stuttgart), Tage für Neue Kammermusik (Witten), Musik der Zeit (Cologne), Chicago, Zurich, Ultima (Oslo), Viitasaari, Sarrebruck, Reggio Emilia…

Listen to Wiegenmusic by Helmut Lachenmann.

Once again, happy birthday Mister Lachenmann!

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At this time, John Cage was an extremely controversial character in the music world and taught experimental composition in New-York. In this musical piece dating from 1959, Cage uses 34 different instruments, all in relation with water (for example: the bathtub, a toy fish, a pressure-cooker…). The score shows a plan explaining the placement of instruments with a timeline of three pages including descriptions and a pictographic notation indicating the occurrence of events.

Two things to note: contrary to the original version, Cage smacks and tosses radios instead of simply turning them on and off. Also note the ambiguity of the behavior towards Cage: at the same time, the regular game show is cancelled to let him play the whole piece, but is treated as a kind of weird.

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There are fascinating conversations with leading figures of contemporary music, such as Claude Ballif, François Bayle, Marius Constant, Antoine Duhamel, Michel Fano, Claude Helffer, Betsy Jolas, Yvonne Loriod, François-Bernard Mâche, Ivo Malec, Luis de Pablo and Martial Solal.

The video documents of this series are of very high quality. Thanks to the INA to make publicly available these videos.

Musique Mémoires – INA

Focusing on the electro-acoustic music and electronics, I offer you to listen to the webradio of GRM (I already spoke about GRM in the article on music concrete). There are many programs, from documents with Schaeffer (1959) to interviews with Luc Ferrari in 1989 as well as “concerts reports” in 2005, 2006, 2007.

Les Ondes – Webradio of GRM..

Good listening, and please share your links by adding them to this page!

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