John Adams †Harmonielehre Essay

By inventing the serial formation of twelve t nonpareil harmony and atonalism, Schoenberg had created the agony of modern medical specialty. The minimalists had rebelled against the authoritative, aurally ugly music of Schoenberg and the avant-garde beliefs of atonalism being the Promised Land, choosing instead to return to traditional tonality. Adams partially agreed with the rebellion against Schoenbergian music, his bring ins containing intelligibly minimalist elements. Thus when he spoke about freeing himself from the sham Schoenberg represented, he meant to reject serialism and atonality, as well as the process of composing which demands rigorous systemization of structure.However, Adams has also expressed his prize for Schoenberg. Kirchner, with whom Adams canvas while at Harvard, had himself been a student of Schoenberg. Though the minimalists had already paved the way for departure from the Schoenbergian model, it was perhaps still a troublesome decision for Adams to divert from such an influential figure. After all, Schoenberg pioneered serialism and atonality. In addition, having gr give up listening to the democratic music of his time, Adams was constantly essay to find a balance between what he listened to (notably American jazz, prevalent music, gospel music and rock n roll) and the music that he studied in university.Adams had upset ii c angstroms of intellection with Harmonielehres 1985 premiere minimalists thought it was a tribute to their no(prenominal) 1 bogeyman while modernists proverb it as a reactionary put up that took their heros detect in vain. This essay and so seeks to discuss the main characteristics of Adamss compositional style in particular reference to Harmonielehre, and hence attempt to place if, as a result of Adamss internal conflicts, the said work is more of a refreshing new departure or a return to tested and tested orchestral gestures.Adamss derivation from atonality may be considered a return to tr ied and tested orchestral gestures. He was particularly taken with the expressiveness of tonality, appreciating its potential to affect emotions in the hand of masters like Wagner, whom he greatly admired. In contrast, he order atonality severely localiseing in both its expressive black market as well as in its ability to maintain huge formal structures.Adams has re-embraced tonality in much of his music including Harmonielehre, containing long passages employing a single set of pitch classes usually encompassed by one diatonic set. His earlier foregathers generally remain diatonic through with(predicate)out. The first-year movement of Harmonielehre begins and ends with pound sign E pincer chords repeated in a typical minimalistic style, and the piece culminates with a tidal wave of brass and percussion over an E-flat major(ip) pedal point.However, Adams is not a complete traditionalist as his sympathetic vocabulary does not remain limited to purely diatonic chords. Non-d iatonic pcs ar frequently introduced in his youngr pieces beginning with Harmonielehre. Pcs outside E nonaged are first introduced in b.19 of the first movement, in this case D, devising the chord an Em7. typesetters case 1. deception Adams, Harmonielehre, mm. 17-21, orchestral reductionD reappears in b.31 and henceforth gains prominence. Here, it is featured in the piano, blurring the E minor centre.Example 2. washbowl Adams, Harmonielehre, concordant sketchThe end of the last movement (Meister Eckhardt and Quackie), features more chromatic harmonies, with a vast kindly struggle that breaks through into an emphatic wall socket on E-flat major. Unlike a traditional tonal piece with systematically planned harmonies and a conclusive modulatory sequence, Adams simply places the keys together, as if in a mixer, and let them battle it out. Nevertheless, the chromaticism is built on a diatonic basis, evident from their association with diatonic passages and the secondary role of the non-diatonic pcs.Harmonielehre is thus largely a tonal work and parodies the book by the selfsame(prenominal) title written by Schoenberg, in which he discusses the functions of tonal conformity only to completely renounce it. By the title of Harmonielere, Adams researchs aspects of harmony inwardly his induce lyric poem.Adamss subscription to minimalism may also be considered a return to tried and tested orchestral gestures since minimalism had been going on for some time before he came on scene. The principal minimalist features include a continuous formal structure, an heretofore rhythmic food grain and bright tone, a simple harmonic palette, a lack of extensive melodic lines, and insistent patterns. Some of Adamss early piano works, notably Common tones in simple(a) Time (1979-80, rev. 1986), Light Over body of water (1983), and Phrygian Gates (1978) fit the aforementioned criteria.This is also observed in the origin of Harmonielehre (Example 3). The minimal istic repetitions of the E minor chords result in the creation of a repetitive pulse.Example 3. nates Adams, Harmonielehre, mm. 1-10, orchestral reductionA simple harmonic palette (as discussed earlier) is a feature of both the minimalist and Tonal traditions. dimmed harmonic changes are evident in the opening (Example 3) the E minor chord lasts till b.19 when D is introduced in the flutes and oboes and only 26 disallow later (b.45) is a C added. The harmony finally changes again at b.59.These simple harmonies and gradual harmonic movement further imply the watch of minimalism.Example 4. stool Adams, Harmonielehre, harmonic sketchHowever, Adams expands these minimalist techniques rather than using the aesthetic and style common in Reichs or Rileys music. While most minimalists (with the notable exception of La Monte early) shunned the minimalist label, Adams embraces it and feels that he has exceeded the label Minimalism really can be a bore you get those Great Prairies of non-event but that highly polished, perfectly resounding sound is wonderful. His later works, while still bearing some minimalist characteristics, depart from the common aesthetic, and no attempt is made to achieve systematic purity.Adams formulates his melodies using an additive technique, which is common to Glass. However, unlike Glass, t present is no distinct pattern as to where or when Adams chooses to add or subtract notes, and the answer melody is unpredictable. This is seen in the second violins in the first movement (Example 5)Example 5. Adams, Harmonielehre, mm. 180-84, second violinsAnother guinea pig can be drawn from the opening, featuring the minimalist repetition of E minor chords which do not recur in any regular rhythmic pattern. The sense of pulse is unclear and somewhat unpredictable as the chords move closer by increments and create a syncopated effect, compromising the minimalist technique of even and continuous pulsation.Adamss deviation from Minimalism i s also manifest by his remarks in social intercourse to Harmonielehre Im not the kind of composer who previsages the entire structure of a piece in advance in a certain sense, I feel the structure as Im creating it.Adams is not a pure Minimalist while he utilizes Minimalist techniques, his simultaneous friendship of expressivity is unique. The combination of both traits is a refreshing departure from both extremities. In Adams words, I dont hurt the kind of refined, systematic language that the minimalists have I rely a lot more on my intuitive sense of balance as far as I can tell, most nineteenth-century composers wrote on intuitive levels. He found that the Minimalist aesthetic of non-teleology resulted in a confined emotional bandwidth and threatened to limit Minimalist music. Thus in most of his works, he employs Minimalist techniques to explore its expressive emotional potential something the first generation of Minimalists generally eschewed.Adams illusion for expr essiveness is not only evidenced by his embracement of tonality, but also by other signature Romantic traits found in his works. This is especially full-strength in Harmonielehre, which verges on Minimalism, but touches almost as much on a melodic romance. The combination of minimalist techniques with Romantic expressivity is evidenced in the opening of the last movement. The flutes take the accompanying line, with repetitive patterns first on E and G, consequently on an E minor triad. A melody characterised by expressive leaps (taken by the strings) is heard over the shimmering waves of repetition. such timbre further creates a warm, emotive sound.The same movement contains a passage beginning with pounding E minor chords. The harmony here is relatively simple, gradually shifting from one chord to the next through the addition or alteration of a note (a rather Minimalist characteristic). Minimalist harmony combines with the Romantic caryopsiss to culminate in the climax (Exampl e 6), with the texture and sound continuously thickening and unsubtleening.Example 6, Harmonic sketch, Meister Eckhardt and QuackieAnother exercise can be seen in the first movement (mm. 254-300), which contains a broad singing melody first carried by the solo horn then cellos, and later the upper strings. The accompanying triple arpeggios (first harp and woodwinds) weld the fragment with the preceding passage of repetitive patterns and pulses. Along with the sustained brass chords, the music reaches a climax with the amalgamation of the deuce different styles, reminiscent of Romanticism with the broadening texture and warm sound.Example 7. Harmonielehre I (bar 257 267)Thus although these passages intelligibly exceed the Minimalist style in their melodic and harmonic construction, the Minimalist technique dominates the accompaniment in rhythm and texture, a distinct example of how the music is a refreshing new departure.The shades of Mahler, Sibelius, Debussy, and the five-year -old Schoenberg are everywhere in this strange piece. The second movement of Harmonielehre (The Anfortas Wound) alludes to Sibelius stern Symphony (1910 11), which Adams claims as the primary generating model , evidenced by the long, sad melody played by muted cellos. This movement also bears a programmatic reference to Wagners Parsifal (1857 1882) featuring Anfortas , represented by the long, elegiac trumpet solo. wrenching harmonies, constantly descending chords and regular meters contribute to the imagery of sickness and confinement, one day after another, just rolling on.The ending of the movement contains two giant climaxes, the second one a tribute to Mahlers undressed Ninth Symphony (1909 1919). The first movement bears a tribute to the late Romantics, including allusions to, ironically, Schoenbergs Gurrelieder (1900 1911). The shimmering effect in the opening of the third movement even alludes to early Impressionism. These Romantic traits, along with the Minimalistic slow harmonic rhythms, again visual aspect the eclectic treatment of both styles.In conclusion, Harmonielehre is a combination of the harmonic economy of Minimalism with the picturesque extravagance of late-Romantic orchestration. Adams does not revolutionize music in the way that Schoenberg or the minimalists did by completely rejecting the previous popular approach to composition. His music could thus be considered a return to tried and tested orchestral gestures. However, by combining both romantic expressiveness and minimalist techniques, he has created a new level of balance between the two which is indubitably a refreshing departure from both styles. In his own words, Adams says that Many composers want to rewrite history or something. I dont.BibliographyBooksJ. Adams, Hallelujah uniting Composing an American Life (London, 2008) A. Schoenberg, Theory of Harmony (London, 1983)O. Karolyi, Modern American unison from Charles Ives to minimalists (United States, 1996), 304 D. A . Lee, Masterworks of 20th-Century symphony The Modern Repertory of the Symphony Orchestra (New York, August 2002), 1-7 Watkins, 572. / 576-77ArticlesJ. Adams, prior Notes for HarmonielehreJohn Adams, quoted in Michael Steinberg, Harmonium, by John Adams, program notes for the San Francisco Symphony, Stagebill, 4, 6-7 Jan. 1987, 20B. Philip Clark, Programme Notes for the BBC issue Orchestra of Wales, 28 Jan 2011 The give-and-take between Jonathan Cott and Adams concerning Harmonielehre in liner notes to Harmonielehre (Nonesuch 79115, 1985) T. A. Johnson, Minimalism Aesthetic, direction or proficiency?, The Music Quarterly, Vol. 78, No. 4 (Winter, 1994), 747-773 T. A. Johnson, Harmonic style in the Music of John Adams A Hierarchical Approach, journal of Music Theory, Vol. 37, No. 1 (Spring, 1993), 117-156 T. may, Interview John Adams reflects on his life, The John Adams Reader, ed. Thomas May (USA, 2006), 2-28 C. Pellegrino, Aspects of Closure in the Music of John Adams, Pers pectives of New Music, Vol. 40, No. 1 (Winter, 2002), 147-175 A. Ross, The Harmonist, The John Adams Reader, ed. Thomas May (USA, 2006), 29-44 K. R. Schwarz, Young Composers John Adams, Music and Musicians, Mar. 1985, 10. K. R. Schwarz, handle vs. Intuition in the Recent full treatment of Steve Reich and John Adams, American Music, Vol. 8, No. 3 (Autumn, 1990), 245-273 M. Steinberg, Harmonielehre, The John Adams Reader, ed. Thomas May (USA, 2006), 101-105 John Adams, quoted in Michael Steinberg, Harmonium, by John Adams, program notes for the San Francisco Symphony, Stagebill, 4, 6-7 Jan. 1987, 20B David Sterritt, John Adams and His Nixon in china Could This Be Another Porgy and Bess? Christian Science Monitor, 19 Oct. 1987, 21-22 John Adams, From Nixon in China to Walt Whitman An Interview with John Adams interview by Edward Strickland, Fanfare, Jan-Feb. 1990, 46. WebsitesP. Gutmann, John Adams Popularity without Pondering, Classical Notes (accessed 15 November 2011), http//www .classicalnotes.net/columns/adams.htmlharmonielehre J. Kosman, Harmonielehre, John Adams, Chester Novello (accessed 15 November 2011), http//www.chesternovello.com/default.aspx?TabId=2432&State_3041=2&workId_3041=23704 D. Robertson, Transcript of David Robertson Conductor and music scholar discusses the vastness of John Adams orchestral work Harmonielehre in helping us visit the way music can look back yet watch the new in musical sounds, The Music Show (accessed 20 November 2011), http//www.abc.net.au/rn/music/mshow/s924166.htm C. Zeichner, Minimalism maximized John Adams, Ariama (accessed 21 November 2011), http//www.ariama.com/features/minimalism-maximized-john-adams DiscographyJ. Adams, Harmonielehre, City of Birmingham Symphony Orchestra, Sir Simon rattling (EMI Classics), 1994, CD B000002RU2General CommentsAn excellent response to the question. You have used an estimable range of sources and, most importantly, identified critical material arising from the premiere of the piece. You have not only used music examples effectively, but made your own harmonic analyses where none others were available. Your writing style is clear and concise and address accurate. Countermarkers comment agreed. An outstanding essay, well-done 1 . J. Adams, Introductory Notes for Harmonielehre 2 . Loc. cit. 3 . J. Adams, Hallelujah Junction Composing an American Life (London, 2008), p.107 4 . K. R. Schwarz, Process vs. Intuition in the Recent Works of Steve Reich and John Adams, American Music, Vol. 8, No. 3 (Autumn, 1990), p.245-273 5 . Philip Clark, Programme Notes for the BBC National Orchestra of Wales, 28 Jan 2011 6 . Adams, Op. cit., 104 (Hallelujah Junction) 7 . Henceforth abbreviated as pcs 8 . T. A. Johnson, Harmonic Vocabulary in the Music of John Adams A Hierarchical Approach, Journal of Music Theory, Vol. 37, No. 1 (Spring, 1993), 117-156 9 . Examples Harmonium (1980), Common Tones in Simple Tone (1979) and Shaker Loops (1978) 10 . T. A. Johnson, Mi nimalism Aesthetic, Style or Technique?, The Music Quarterly, Vol. 78, No. 4 (Winter, 1994), 747-773 11 . Johnson, Op. cit, 136 (Journal of Music Theory) 12 . Adams, Op. cit., cxxx (Hallelujah Junction) 13 . M. Steinberg, Harmonielehre, The John Adams Reader, ed. Thomas May (USA, 2006), 101-105 14 . T. A. Johnson, Op. cit, (Journal of Music Theory), 117-156 15 . T. A. Johnson, Op. cit. (The Music Quarterly), 747-773 16 . T. A. Johnson, Op. cit. (The Music Quarterly), 747-773 17 . David Sterritt, John Adams and His Nixon in China Could This Be Another Porgy and Bess? Christian Science Monitor, 19 Oct. 1987, 21-22 18 . John Adams, quoted in Michael Steinberg, Harmonium, by John Adams, program notes for the San Francisco Symphony, Stagebill, 4, 6-7 Jan. 1987, 20B 19 . K. R. Schwarz, Op. Cit. (American Music) 245-273 20 . T.A. Johnson, Op. Cit. (Journal of Music Theory), 117-156 21 . From the discussion between Jonathan Cott and Adams concerning Harmonielehre in liner notes to H armonielehre (Nonesuch 79115, 1985) 22 . John Adams, in an interview held in 1986 23 . T. May, Interview John Adams reflects on his career, The John Adams Reader, (USA, 2006), 2-28 24 . K. Robert Schwarz, Young American Composers John Adams, Music and Musicians, Mar. 1985, 10. 25 . Joseph Pehrson, New music Connoisseur, review for Harmonielehre 26 . T. A. Johnson, Op. Cit. (Journal of Music Theory),754 27 . Adams, Op. Cit., Notes for Harmonielehre 28 . Steinberg, Op. Cit., 103 29 . Based on C.G. Jungs discussion of Anfortas, the king whose wounds could never be healed 30 . Steinberg, Op. Cit., 105