John Adams †Harmonielehre Essay

By inventing the serial system of twelve t maven practice of medicine and atonalism, Schoenberg had created the agony of modern medicine. The minimalists had rebelled against the systematic, aurally poor euphony of Schoenberg and the avant-garde beliefs of atonality being the Promised Land, choosing instead to lead to traditional tonality. Adams partially agreed with the rebellion against Schoenbergian music, his works containing distinctly minimalist elements. thus when he spoke about freeing himself from the model Schoenberg represented, he meant to reject serialism and atonality, as well as the process of composing which demands rigid systemization of organize.However, Adams has to a fault expressed his respect for Schoenberg. Kirchner, with whom Adams studied plot 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 possibly still a difficult decision for Adams to divert from such an influential figure. After all, Schoenberg pi wizardered serialism and atonality. In addition, having grown up listening to the popular music of his time, Adams was constantly struggling to find a balance between what he listened to (notably American jazz, popular music, gospel music and rock n roll) and the music that he studied in university.Adams had upset two camps of thought with Harmonielehres 1985 premiere minimalists thought it was a tribute to their No. 1 bogeyman while modernists saw it as a reactionary gash that took their heros name invain. This essay thus seeks to discuss the main characteristics of Adamss compositional demeanor in particular reference to Harmonielehre, and hence attempt to determine if, as a result of Adamss internal conflicts, the said work is more of a refreshing vernal departure or a return to tried and tested orchestral gestures.Adamss derivation from atonality may be considered a return to tried and tested orchestral gestures. He was particularly taken with the expressiveness of tonality, appreciating its potential to affect emotions in the hands of masters like Wagner, whom he greatly admired. In contrast, he found atonality severely limiting in both its expressive range as well as in its expertness to maintain large 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 pieces generally remain diatonic throughout. The fore some-class honours degree movement of Harmonielehre begins and ends with pounding E minor chords repeated in a typical minimalistic style, and the piece culminates with a tidal wave of brass and percussion over an E-flat major pedal point.However, Adams is not a complete traditionalist as his harmonic diction does not remain limited to purely diatonic chords. Non-diatonic pcs are frequently introduced in his later pieces beginni ng with Harmonielehre. Pcs outside E minor are first introduced in b.19 of the first movement, in this case D, making the chord an Em7.Example 1. John 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. John Adams, Harmonielehre, harmonic sketchThe end of the last movement (Meister Eckhardt and Quackie), features morechromatic harmonies, with a vast harmonic scrape that breaks through into an emphatic release on E-flat major. Unlike a traditional tonal piece with systematically planned harmonies and a conclusive modulatory sequence, Adams obviously 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 situation of the non-diatonic pcs.Harmonielehre is thus largely a tonal work and parodies the book by the same title written by Schoenberg, in which he discusses the functions of tonal harmony only to completely renounce it. By the title of Harmonielere, Adams explores aspects of harmony within his own language.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 correct rhythmic texture and bright tone, a simple harmonic palette, a lack of extended melodic lines, and repetitive patterns. roughly of Adamss early piano works, notably Common tones in Simple Time (1979-80, rev. 1986), Light Over Water (1983), and Phrygian Gates (1978) fit the aforementioned criteria.This is also observed in the opening of Harmonielehre (Example 3). The minimalistic repetitions of the E minor chords result in the creation of a repetitive pulse.Example 3. John Adams, Harmonielehre, mm. 1-10, orchestral red uctionA simple harmonic palette (as discussed earlier) is a feature of both the Minimalist and Tonal traditions. Slow 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 bars 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 influence of minimalism.Example 4. John Adams, Harmonielehre, harmonic sketchHowever, Adams expands these minimalist techniques rather than using the aesthetical and style common in Reichs or Rileys music. While most minimalists (with the notable exception of La Monte Young) shunned the minimalist track, Adams embraces it and feels that he has exceeded the label reductivism really can be a bore you get those Great Prairies of non-event but that highly polished, perfectly resonant 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, strange Glass, there is no obvious pattern as to where or when Adams chooses to add or subtract notes, and the resultant melody is unpredictable. This is seen in the second violins in the first movement (Example 5)Example 5. Adams, Harmonielehre, mm. 180-84, second violins some other example can be drawn from the opening, featuring the Minimalist repetition of E minor chords which do not retrogress 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 is also evidenced by his remarks in relation 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 fondness of expressivity is unique. The combination of both traits is a refreshing departure from both extremities. In Adams words, I dont have the kind of refined, systematic language that the minimalistshave 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 fondness for expressiveness is not only evidenced by his embracement of tonality, but also by other signature Romantic traits found in his works. This is especially true in Harmonielehre, wh ich verges on Minimalism, but touches almost as much on a melodic Romanticism. 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, then 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 textures to culminate in the climax (Example 6), with the texture and sound continuously thickening and widening.Example 6, Harmonic sketch, Meister Eckhardt and QuackieAnother example can be seen in the first movement (mm. 254-300), w hich 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 element 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 two different styles, reminiscent of Romanticism with the broadening texture and warm sound.Example 7. Harmonielehre I (bar 257 267)Thus although these passages clearly exceed the Minimalist style in their melodic and harmonic construction, the Minimalist technique dominates the escort in rhythm and texture, a distinct example of how the music is a refreshing new departure.The shades of Mahler, Sibelius, Debussy, and the young Schoenberg are everywhere in this strange piece. The second movement of Harmonielehre (The Anfortas Wound) alludes to Sibelius Fourth philharmonic (1910 11), which Adams claims as the primary generating model , evide nced by the long, melancholic melody played by dull 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 resource 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 unfinished 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 show the eclectic treatment of both styles.In conclusion, Harmonielehre is a combination of the harmonic parsimony 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 Junction Composing an American Life (London, 2008) A. Schoenberg, Theory of Harmony (London, 1983)O. Karolyi, Modern American music from Charles Ives to minimalists (United States, 1996), 304 D. A. Lee, Masterworks of 20th-Century Music The Modern Repertory of the Symphony Orchestra ( raw(a) York, August 2002), 1-7 Watkins, 572. / 576-77ArticlesJ. Adams, Introductory 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 National Orchestra of Wales, 28 Jan 2011 The discussion between Jonathan Cott and Adams concerning Harmonielehre in liner notes to Harmonielehre (Nonesuch 79115, 1985) T. A. Johnson, Minimalism Aesthetic, Style or technique?, The Music Quarterly, Vol. 78, No. 4 (Winter, 1994), 747-773 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 T. May, Interview John Adams reflects on his career, The John Adams Reader, ed. Thomas May (USA, 2006), 2-28 C. Pellegrino, Aspects of Closure in the Music of John Adams, Perspectives 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, Process vs. Intuition in the Recent Works 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 query 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. Robertso n, Transcript of David Robertson Conductor and music scholar discusses the importance of John Adams orchestral work Harmonielehre in helping us experience the way music can look back yet anticipate 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 Rattle (EMI Classics), 1994, CD B000002RU2General CommentsAn excellent response to the question. You have used an admirable 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 compose style is clear and concise and citation 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, diary 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, Minimalism 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., 130 (Hallelujah Junction) 13 . M. Steinberg, Harmonie lehre, 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 Harmonielehre (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