Galina Ustvolskaya - Analytical Approach To Selected Compositions PDF
Galina Ustvolskaya - Analytical Approach To Selected Compositions PDF
Galina Ustvolskaya - Analytical Approach To Selected Compositions PDF
Scholarship@Western
Electronic Thesis and Dissertation Repository
September 2013
Supervisor
Dr. Catherine Nolan
The University of Western Ontario
A thesis submitted in partial fulfillment of the requirements for the degree in Doctor of Philosophy
Recommended Citation
Murrell, Lindsay S., "Galina Ustvolskaya (1919-2006): Analytical Approach To The Pitch Content of Selected Compositions" (2013).
Electronic Thesis and Dissertation Repository. 1608.
https://ir.lib.uwo.ca/etd/1608
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GALINA USTVOLSKAYA (1919–2006)
by
Lindsay Murrell
approach suits her compositional design built upon the element of repetition. Employing
Joseph Straus’s analytical approach to the music of Ruth Crawford Seeger, this
upon compact motives established at the onset of each work. The motives are then
repetition. Contextual transformations are subjected upon the motives, which are defined
a cohesive design.
over time of her compositional process. The earlier works display a less explicit use of
repetition. As her style evolves, the element of repetition maintains its grasp, while at the
same time infiltrating the shallower layers of the work, thus becoming more audible to
the listener. As her style evolves further, the element of repetition subsumes the
ii
composition as a whole, exhibiting a fully evolved, mature design that has been stripped
of superfluous elements.
that emerged quietly during the latter part of the twentieth century. The full impact of her
contribution to the eclectic trends of the twentieth and twenty-first centuries will only
iii
ACKNOWLEDGEMENTS
I would like to acknowledge my advisor, Dr. Catherine Nolan, for her thoughtful
comments, helpful discussions, and her constant encouragement along this journey. No
matter how many emails I would send in one day (and we both know, I could send a lot!),
she would respond to each one until my thoughts were clear and my direction was set.
This helped me immensely and contributed to making this a better dissertation. I would
also like to thank my second reader, Dr. John Cuciurean, for his meticulous eye for detail
and his fresh views and opinions. Many thanks to Dr. Richard Parks, Dr. Peter Franck,
and Dr. John Doerksen, who all encouraged and had an impact on me at some point
during both my master’s and doctoral programs in both a teaching and research capacity.
to travel to Russia and obtain scores and attend a concert devoted solely to Ustvolskaya’s
I would also like to thank Shelly Koster for all of our impromptu therapy sessions.
You were always willing to listen to my issue of the day and provide me with great
advice, no matter if it was school related or just about life. I am also thankful for Gayle
Day for taking over the care of my plant—I know it was a stressful job! Thanks also to
Linda Kusters who made my teaching experiences at Western run smoothly — you
amaze me!
I am also grateful for my friends. Peter, you helped me throughout these years and
you know that this dissertation would have been a formatting disaster without you! I
always enjoy exchanging ideas with you, whether for research or teaching purposes. You
have helped me tremendously. I would also like to thank Elaine and Rebecca for listening
iv
to me for this past year. You two helped me stay sane throughout this final year. Lauren
and Jen, I am so glad we all ended up in residence together so long ago in first year. It
seems any amount of time can go by, but we can always pick back up right where we left
off. Your support in the last few months has been immeasurable. Thanks also to Mare and
Lastly, I would like to thank my family. Without my parents’ support I would not
have been able to finish this dissertation when I did. You have helped me in so many
ways throughout this journey and it did not go unnoticed or unappreciated. Thanks to
Katy, Bailey, and my Nana for always being there to listen to me vent and encourage me
to keep going when I was feeling down. A glass of wine always seems to give us a unique
and clear perspective on things! This dissertation would not have materialized without the
v
TABLE OF CONTENTS
ABSTRACT……………………………………………………………………….. ii
ACKNOWLEDGEMENTS……………………………………………………….. iv
LIST OF FIGURES……………………………………………………………….. ix
vi
Variation V (mm. 78–92)………………………………………….. 120
Variation VI (mm. 93–107)………………………………………... 121
Variation VII (mm. 108–123)……………………………………... 123
Variation VIII–IX (mm. 123–139)………………………………… 126
Movement III (mm. 1–44)…………………………………………............ 129
Movement IV (mm. 1–53)…………………………………………............ 135
Movement V (mm. 1–25)………………………………………………….. 144
Conclusion…………………………………………………………............. 153
vii
BIBIOGRAPHY…………………………………………………………………… 243
Primary Sources: Scores and Interviews…………………………............... 243
Secondary Sources:
Theoretical and Analytical Literature……………………………... 243
Biographical Literature……………………………………………. 248
Historical Literature……………………………………………….. 250
viii
LIST OF FIGURES
ix
3.13. Pc reduction: Segmented Mtv2s in phrase 1 (introduction, mm. 1–2) 66
3.23a. Score excerpt: Oboes I and II (movement I, variation II, mm. 19–20) 82
3.23b. Score excerpt: Timpani ostinato (movement I, variation II, mm. 19–24) 83
3.24a. Score reduction: Oboes and strings (movement I, variation II, mm. 25–30) 85
x
3.24b. Pc reduction: Second ostinato pattern (violin IV, m. 25) 86
3.33. Expansion of tail addition (movement II, introduction, mm. 7–8, piano) 106
xi
3.36b. Strand 2 (movement II, introduction, mm. 1–14) 109
3.40. Motivic allocation for variation II (movement II, mm. 31–46) 114
3.41b. Pc reduction (m.30): Vlns I, II, and IV (oscillating Mtv1 tail gestures) 116
3.42. Motivic allocation for variation III (movement II, mm. 47–62) 117
3.43. Oboes I and II: Strand 2 (movement II, variation III, mm. 47–48) 118
3.44. Strand 2 reorganized (oboe I, movement II, variation III, mm 47–48) 118
3.49. Mtv2 transformations with the addition of pc 9 (movement II, variation VI,
mm 93–98) 122
3.50. Motivic allocations for variation VII (movement II, mm. 108–123) 123
3.51. Timpani devolution (variations IV, V, VI, and VII, movement II) 124
3.52. Score excerpt: piano and timpani (movement II, variation VII, mm. 108–109) 124
3.53. Pc reduction: piano strands (movement II, variation VII, mm. 108–109) 125
3.54. Piano and timpani verticalities (movement II, variation VII, m. 108) 126
3.55. Score excerpt: Variation VIII (movement II, mm. 123–126, piano) 126
xii
3.56. Variations VIII and IX motivic allocations and derivations
(movement II, mm. 123–139) 127
3.59. Corresponding DIs: Movement I (mm. 8–10) and III (mm. 1–4) 131
3.60. Piano Mtv3 gesture (movement III, introduction, mm. 1–2) 132
3.66. Piano: Strand 1 presentations (movement IV, introduction, mm. 1–3) 140
3.67. Condensed motivic gestures (movement IV, introduction, mm. 7–9) 141
3.68. Condensed Mtv2s: Oboes (movement IV, introduction, mm. 7–9) 142
xiii
3.76. Comparison of introduction and variation I (movement V, mm. 1 and 3,
VI. II and IV) 147
3.79. Score excerpt: Variation IV, piano solo (movement V, m.10) 150
xiv
4.14. Score excerpt: Second half of transition (rehearsal 17) 173
4.15. Score excerpt: Violin line (variation II, rehearsals 18 through 23) 174
4.20. Ics 5 and 6 piano punctuations (variation V: rehearsals 53 through 56) 181
xv
4.32a. Variation III (rehearsals 14 through 18, piano and tuba) 196
4.32b. Right and left hand motivic configurations (variation III, rehearsals
14 through 18) 197
5.3a. Score excerpt: Introduction (mm. 1–3, oboes and trumpets) 212
5.3b. Score excerpt: Introduction (mm. 4-7, double basses, ic-2 ascent) 212
5.5. Pc reduction: Mtv2 (introduction, mm. 7–9, trumpet II and trombone) 216
xvi
5.14. Pc reduction: Derivation of vocal motive from Mtv1:P 229
xvii
1
Chapter One
Galina Ustvolskaya:
A Soviet Composer
If I put my entire “I” into my works, all my might, then it’s necessary to listen to
me in this new way, and to put all your might into listening to it as well! I believe
that in the future that will change. I’m sorry to explain it over and over. All forms,
polyphony and so forth, they all must be considered anew.1
Introduction
extremely tumultuous time period. Born in 1919 in St. Petersburg2 during the Russian
Civil War,3 Ustvolskaya experienced a great deal of upheaval throughout her entire
1
Olga Gladkova, Galina Ustvolskaya: Muzika kak navazhdenie [Galina Ustvolskaya:
Music as Bewitchment] (St. Petersburg: Muzyka, 1999), 3. Translated by Andrei
Bakhmin, http://ustvolskaya.org/eng/interview.php (accessed July 1, 2013).
2
During Ustvolskaya’s lifetime, the city she devoted herself to would have its title
changed frequently. At her birth, it was referred to as Petrograd, then Leningrad, and
would eventually return back to St. Petersburg.
3
Russian Civil War (1917–1921): After the February and October Revolutions of 1917,
the county was in political disarray with various groups searching for power and
authority. Discord arose between those who had authority but no power (provisional
government) and those who commanded but had no formal responsibility (workers and
soldiers). Lenin’s return led to the emergence of power by the Bolsheviks (red army), a
group of revolutionary intellectuals, who asserted themselves through organization and
2
lifetime, both politically and creatively, during the formation and eventual demise of the
Soviet Union. Although she was not persecuted as overtly as many of her Russian
musical comrades, such as Shostakovich and Prokofiev, her creative journey was
nevertheless full of resistance. Ustvolskaya’s personal and creative isolation impacted the
reception of her music. It would not be until the 1980s and 1990s when her music would
particularly in Western Europe. Sadly, the North American audience and academia have
not embraced this composer as fully. Although the literature about her is growing, it is
rather unfortunate to see her name mentioned only briefly in textbooks devoted to
her compositions has been overshadowed by the rumor of her close relationship with her
compositions are rich with innovation and idiosyncratic elements that deserve to be the
mass mobilization. Countering this group would be the white army, comprised of army
officers, who were contemptuous to politics and reliant on military solutions. Partly due
to the lack of a clear vision by the anti-Bolsheviks, Lenin would eventually lead his party
to victory. For further reading on this topic, please refer to: Peter Kenez, A History of the
Soviet Union from the Beginning to the End (New York: Cambridge University Press,
2006).
4
In the few interviews conducted, Ustvolskaya refuses to comment on her possible
relationship with her composition professor, Shostakovich. In a letter dated January 1,
1994, she passionately explained that neither Shostakovich’s music nor personality were
ever close to her. Whatever connection or relationship the two composers experienced
during their careers, neither composer wished to comment upon it. Shostakovich did
speak very highly of his pupil, sending her unfinished works to critique and even
borrowing material in his own compositions. For more on this topic please refer: Rachel
Jeremiah-Foulds, “An Extraordinary Relationship and Acrimonious Split – Galina
Ustvolskaya and Dmitri Shostakovich,” Mitteilungen der Paul Sacher Stiftung 23 (April
2010): 20-25; Louis Blois. “Shostakovich and the Ustvolskaya Connection: A Textual
Investigation,” Tempo 182 (September 1992): 10-18.
3
Ustvolskaya will serve as the basis of this dissertation. This initial chapter will focus on
Ustvolskaya and her music in certain contexts, in regards to her biography, Russian music
during the Soviet era, and the reception and style of her works.
Ustvolskaya was inspired and enthralled by the world of music at a very young
age. Growing up not far from the theatre district, her father, Ivan Mikhailovich Ustvolski,
Ustvolskaya to musical events and experiences during her youth by taking her to concerts
and enrolling her in music lessons. Although her family was not immune from the
priority. Private cello lessons eventually led to her enrollment in the Leningrad Choral
School in 1926, initially a school for both boys and girls, but later only for boys. Her
parents then placed her in a special music school eventually leading to her enrollment in
the Leningrad Conservatory. She remained there from 1940 to 1947 except for a brief
5
The material from the biographical section of this dissertation is credited to the
following sources: Rachel Jeremiah-Foulds,“Masculine Versus Femininity: An
Overriding Dichotomy in the Music of Soviet Composer Galina Ustvolskaya,” eSharp 9
(Spring 2007), http://www.gla.ac.uk/departments/esharp/issues/9/ (accessed January 25,
2011); Andrei Bakhmin, “Ustvolskaya, ‘About the Composer’ and ‘Interviews with
Ustvolskaya’,” Ustvolskaya.org. http://ustvolskaya.org/eng/index.php (accessed January
25, 2011). Viktor Suslin, “The Music of Spiritual Independence: Galina Ustvolskaya,” in
Ex Oriente: Ten Composers from the Former USSR, ed. Valeria Tsenova, trans. Carolyn
Dunlop (Berlin: Verlag Ernst Kuhn, 2002).
6
Gladkova, 26.
7
All quotations provided in Russian have been translated jointly by the author and Elena
Ross.
4
interval during the Patriotic War and the Leningrad blockade.8 Here she studied
composition primarily under the guidance of Dmitri Shostakovich and was the sole
female student in his class. Her postgraduate studies were abruptly concluded when
Shostakovich was dismissed from his teaching post due to accusations of formalism.9 At
this point, in 1947, she became a member of the Union of Soviet Composers and accepted
a teaching position at the college associated with the conservatory, the Leningrad
Rimsky-Korsakov College of Music. She taught composition at this institution for almost
From a young age, Ustvolskaya was attracted to isolation and solitude. In a rare
about how she would frequently leave school to explore the islands11 and sit quietly to
observe nature. She had an aversion to group situations and would prefer to do activities
8
The Leningrad Blockade lasted from September 1941 to February 1943 when the
German armies invaded and surrounded major Russian cities, such as Moscow and
Leningrad. A few days prior to the seizures, the government had taken preemptive
measures and evacuated important scientific and cultural institutions in these cities.
Included in the evacuation would be the Conservatory that Ustvolskaya attended, being
relocated to Tashkent for this eighteen month period. The siege would have a devastating
affect on the city, with an estimate of approximately one million deaths resulting from
starvation.
9
The problems with formalism from the Soviet perspective will be discussed in more
detail in a subsequent section of this chapter.
10
This is considered the only authorized biography of Ustvolskaya. Her official website
(Ust.org) states a second biography is set to be released in 2013.
11
The city of St. Petersburg is almost entirely built on a series of islands across the delta
of the Neva river thus earning it the nickname “Venice of the north”.
5
Her isolation from society continued throughout most of her life. As expressed in the
quotation above, even in adulthood she felt isolated from her peers. Her introverted
personality compounded an already difficult situation with regard to the reception of her
compositions. She avoided concerts featuring her own works, never accepted
commissions, and declined countless interviews citing concerns over the interviewers
Not only did she attempt to isolate herself from the musical community, but also
her works. She spoke out adamantly on the subject of who should and should not perform
her compositions in both concerts and recordings. Near the end of her career, Ustvolskaya
compiled a list of her preferred performers (a list that changed constantly throughout her
career) listing only twelve artists including Frank Denyer, Reinbert de Leeuw and
Matislav Rostropovich. The letters provided in figure 1.1 illustrate Ustvolskaya’s attempt
to withhold her compositions from the public’s ear. The first letter is dated 1992 and was
sent to Hans-Ulrich Duffek, director at Musikverlag Hans Sikorski. The second letter was
directly sent to the offender, Patrick de Clerk, who worked at the Belgian label for
Megadisc. Ustvolskaya did not agree with either man’s choice of performers, and thus
wanted to cancel the recordings. In both instances, Ustvolskaya attempted to control and
inadvertently even hinder the reproduction and accessibility of her works (please refer to
figure 1.1)
12
Gladkova, 27.
6
13
Ustvolskaya.org, “Catalogue, ‘Best Performers and Recordings’,” trans. Andrei
Bakhmin, http://ustvolskaya.org/eng/performers.php (accessed June 25, 2013).
7
Ustvolskaya did not travel abroad until 1995 at the age of 75 to attend a concert in
Amsterdam for a performance of her Third Symphony. While there, Thea Derks14
conducted one of the very few interviews granted by Ustvolskaya. In all, Ustvolskaya
would only grant six interviews throughout her lifetime, including this one with Derks,
two with Gladkova, and three in short TV exposés about herself. Due to the conditions
Ustvolskaya placed on her interviewers, the results of the interviews tended to only glean
surface information about the composer. She was adamant about not discussing her
her works.
audiences and musicologists in Europe have embraced her work, especially in the
Netherlands, where in the past they have devoted many concert series to her works,
including a series entitled “Ustvolskaya Evenings.” In 1992 she was the recipient of a
Heidelberg prize for achievements in the field of art.15 It has been suggested that
composers such as Shaporin, Ligeti, and Lutoslawski were interested in her works and
contacted her publisher at Sikorski Hamburg inquiring about this relatively unknown
composer. Lutoslawski is quoted as saying that Ustvolskaya does not only deserve to be
performed, but also studied.16 Ustvolskaya died on December 22, 2006 in St. Petersburg.
14
Thea Derks, “Galina Ustvolskaya: “Sind Sie mir nicht böse! (Very Nearly an
Interview),” Tempo 193 (July 1995): 31-33.
15
Ust.org., “Ustvolskaya, ‘About the composer’,” http://ustvolskaya.org/eng/index.php
(accessed July 13, 2013).
16
Ust.org., “Catalogue, ‘An artist and his Surroundings: text 6 ’,”
http://ustvolskaya.org/eng/radio.php (accessed July 13, 2013).
8
During the twentieth century changes in Soviet society had a great affect upon
musical life in respect to reception, compositional choices, and production. Actions and
events such as Lenin’s rise to power and his implementation of the New Economic
Policy, mirrored by Stalin’s rise to power and his own economic reform plan, would have
both positive and negative effects on the composer’s creative environment and
subsequent output. Although Ustvolskaya would not publish her first official work until
1946,17 it is important to recognize the years that led up to this creation, as the political
between the years 1921 to 1927. During the Civil War and at its conclusion, the musical
environment and industry were suffering from a similar condition prevalent throughout
all of society: a lack of funds and clear direction. Anatole Lunacharsky (1875-1933), who
charged with the task of remedying the situation in the arts. Lunacharsky’s duties were
focused upon reformation and enhancement of education and culture. During the reign of
the NEP, Lunacharsky played a major role in many of the beneficial changes experienced
in the arts during this time period. Particular accomplishments accredited to Lunacharsky
include the organization of the Russian Philharmonic Orchestra (in Moscow), the
Petrograd State Philharmonic, the State Collection of Musical Instruments, the Musical
Section of the State Academic Council, and various special funds to support artists and
17
Concerto for piano, strings orchestra and timpani
9
The years of the NEP provided a period of growth for well-defined cultural
organizations. One group, which at its height embraced an estimated 90% of the
(ACM). The principal objectives of this group were always to remain progressive and be
mindful of innovations occurring throughout the compositional world. At this same time,
another group was developing, but would not rise to the forefront until later in the 1920s.
(RAPP). As a strong fundamentalist, its agenda contrasted greatly with the ACM. The
RAPM focused on reaffirming the traditional practices and ignoring the innovations of
The death of Lenin in 1924 and the subsequent end of the NEP was also to be the
demise of the ACM. As Stalin assumed power in 1929, new perspectives and practices
soon followed suit. Unfortunately for the ACM, certain directions and practices had
become identified and associated with the unpleasant by-products of the NEP, such as,
“petty bourgeois mentality and cultural obeisance to Western technique and culture.”20
The newly rejuvenated ties with the United States and Western Europe were subsequently
18
David Haas, Leningrad’s Modernists: Studies in Composition and Musical Thought,
1917-1932 (New York: Peter Lang Publishing Inc, 1998), 3.
19
Stanley D. Krebs, Soviet Composers and the Development of Soviet Music (London:
George Allen and Unwin Ltd., 1970), 49.
20
Krebs, 49.
10
discontinued. Due to the strong political ties, the RAPM gained hegemony over ACM in
The power of the RAPM would be short lived, however, as its aggressive agenda
would eventually lead to its own downfall. In 1932 it was replaced by the state organized
Union of Soviet Composers (USC), which Ustvolskaya would later join in 1947. This
union was comprised of not only composers, but rather encompassed a broad spectrum of
Membership was open to all artists “upholding the platform of the Soviet regime and
striving for participation in Socialist construction,”21 but of course, due to the political
environment, one’s success was heavily contingent upon membership, thus removing the
voluntary aspect. A key duty of the Union was active censorship. A committee was
devoted to each of the musical genres, whereupon it would hear and judge all new works
(it was the moral duty of the composer to submit his or her works and reluctance do so
would have repercussions) and either arrange for its publication and possible performance
or deem the work inadequate.22 The criteria for a successful composition were based
In 1934 Socialist Realism became officially defined in the arts as “the truthful and
practice, it meant precisely the opposite.23 Desirable traits were now lyricism, heroic
21
Boris Schwarz, Music and Musical Life in Soviet Russia, enlarged edition, 1917–1981
(Bloomington: Indiana University Press, 1983), 110.
22
Krebs, 51.
23
New Grove Online, s.v.“Shostakovich, Dmitry” (by David Fanning and Laurel Fay),
http://www.grovemusic.com/ (accessed July 13, 2013).
11
tunes, and general public appeal based on the language of the nineteenth-century Russian
symphonies, oratorios, and cantatas sounding Stalin’s glory became the most popular
Overt censorship was not put in place until the late 1940s when Stalin placed
Opera Velikaya Druzhba (The Great Friendship), composed for the thirtieth anniversary
of the October Revolution by Vano Muradeli, caused Zhdanov to focus his attention upon
and reassess the state of post-WWII Soviet music. In 1947 he delivered a speech at a
outlined his assessment of Soviet music and his plan to redirect it.25
music. He did not want composers simply reverting to the past, and reiterating or
recomposing works that the great masters had already presented. He wanted composers to
approaches. What was of great concern for Zhdanov was what material the composers
24
Krebs, 53. A short creative reprieve occurred during the years of the Second World
War before the full impact and repercussions of socialist realism would be felt. As
Stanley Krebs discusses (Krebs, 54-55), the increasing unhappiness felt by many of the
Soviet citizens, which developed during Stalin’s initial ten years of power, was suspected
to be hindering the Soviet’s position in the War. The initial success of the Nazi invasions
was partly blamed upon the discontentment felt by the Soviet citizens. In response to this,
the government lessened some cultural control. This resulted in lessening of creative
control, re-opening contact to the West, and the relocation of important musical figures
and institutions. Ustvolskaya would leave St. Petersburg for these years, 1941-44, to live
in Tashkent.
25
Andrei A Zhdanov, Essays on Literature, Philosophy, and Music, trans unknown,
(New York: International Publishers, 1950), 76-96. The English text was printed in No.
55 of VOKS Bulletin, publication of the All-Union Society for Cultural Relations.
12
were “progressing” or developing; or in other words, the foundation upon which the
composers were building. In the following quote, Zhdanov dissects the two
compositional trends, making it abundantly clear which one is the “correct” direction the
One trend represents the healthy, progressive principle in Soviet music, based
upon recognition of the tremendous role of the classical heritage, and, in
particular, the traditions of the Russian musical school, upon the combination of
lofty idea content in music, its truthfulness and realism, with profound, organic
ties with the people and their music and songs—all this combined with a high
degree of professional mastery. The other trend is that of formalism alien to
Soviet art; it is marked by rejection of the classical heritage under the cover of
apparent novelty, by rejection of popular music, by rejection of service to the
people, all for the sake of catering to the highly individualistic emotions of a small
group of select esthetes.26
Falling into the first category were compositions that had a strong programmatic element.
Folk tunes and idioms were also looked favorably upon, as they were memorable and
was always meant to serve and benefit the masses, and not simply be heard and
remained unexcelled, and it was the job of the composers at that time to use the tools and
experiences at their disposal to advance these forms. Ustvolskaya did create works that
exemplify these aesthetic principles. Compositions such as Young Pioneer’s Suite (1950),
and Man from a High Hill (1952) were composed for popular consumption; however,
Ustvolskaya later removed these works from her official catalogue and subsequently
26
Zhdanov, 81.
13
Falling into the second category would be works that exemplified a formalist
trend—a trend that Zhdanov declared “fundamentally wrong.”28 Instrumental works that
showcased complex forms, complicated melodic organization, or were fully absent of text
were allocated to this category. Many of these aesthetic attributes are showcased in
Ustvolskaya’s compositions. Also relegated to the category of lesser art was what had
been termed “abstractionism.” This refers to the compositions of the composers who were
experimenting with the “cacophony” of atonal design. Zhdanov pointed out that
composers had been warned in the previous decade against such qualities, when the
definition and advocation for socialist realism was put forth. He conceded that since that
time, many of the composers found guilty of formalism have been granted Stalin prizes,29
but stated that this honor represented a “great sign of trust.”30 He continues, “We did not
believe that your work was free of shortcomings, but we were patient, expecting our
He concluded his speech by stating that the committee and composers had two
important tasks to carry out; firstly, to develop and perfect Soviet music, and secondly, to
protect Soviet music from the infiltration of elements of bourgeois decadence.32 The
consequences from this declaration and meeting were extensive. Many composers, such
27
Ustvolskaya.org, “Precision,” http://ustvolskaya.org/eng/catalog.php (accessed July 1,
2013).
28
Zhdanov, 80.
29
Some of these recipients included Shostakovich, Prokofiev, and Khachaturian.
30
Zhdanov, 95.
31
Ibid.
32
Ibid.
14
the normal human emotions.”33 Condemnation and censorship for these composers had
plans and forced public speeches of repentance. Only conformist works were published or
Following the death of Stalin (1953) and the rise of Khrushchev (1894–1971),
extreme social and cultural oppression slowly relaxed to relatively more normal
conditions, albeit within the framework of continued political conformism. Banned works
were now being performed in select concert halls, and contact with Western composers
was being renewed. The anti-formalist decree of 1947-48 was partially rescinded,34 but
the style and approach were still not viewed favorably. The memories of persecution
were still very clear in the minds of many of the composers, young and old, resulting in
the Soviet Union; including Moscow, St. Petersburg (then Leningrad), Kiev, and
schools and conservatories, and discussed music in general. Included in this group of
visiting composers were Roger Sessions, Peter Mennin, Roy Harris, and Ulysses Kay.36
In the program of one of the concerts was Ustvolskaya’s Sonata for Violin and Piano
33
Ibid., 93.
34
Schwarz, 311.
35
Ibid., 315.
36
In the following year, 1959, a group of Soviet composers, including Shostakovich,
would reciprocate the American composers’ visit by making a visit to the States.
15
(1952).37 As a relatively young and unknown composer (she had just entered the Union
in 1947), this was a unique opportunity for her, and definitely would not be the norm in
the years to come. The fact that she was chosen to represent the state of Soviet music was
evidence of her emerging status in the musical community. Reactions from the visiting
delegates were varied, with Harris stating her Sonata for Violin and Piano “isn’t a work
that would integrate itself anywhere, in my opinion. It was kind of ugly.”38 Schwarz
suggests that American composer Ulysses Kay had a different experience and argues that
Schwarz suggests that the “coming change of view” may have been made in reference to
the music of the younger Leningrad composers, in which Ustvolskaya would surely
and varied throughout most of her compositional career, an experience that would be
common for many composers from the Soviet generation (1922-91). As depicted in figure
37
Frans C. Lemaire, “A singular and Uncommon Fate,” Ustvolskaya.org, “About the
Composer,” http://ustvolskaya.org/eng/index.php, (accessed January 25, 2011).
38
Roy Harris, interviewed by Herman Newman, “The State of Music in the Soviet
Union,” American Music Lover (May 1955): 578.
39
Ulysses Kay, “The World of Music,” Bulletin of the International Music Council (May
1959), quoted in Schwarz, 315.
16
1.2, her first official work was completed in 1946 during the latter years of graduate
studies.
40
Information for this chart is gathered from the following sources: List of works,
premier dates and composition dates are collected from the official catalogue provided on
Ustvolskaya.org (as listed by Hans Sikorski). The dates of publication are taken from a
chart designed by Rachel Jeremiah-Foulds (unpublished, 2010).
41
Ustvolskaya.org provides the 1951 composition date for this work; however, I believe
this is a typographical error as Ustvolskaya states in an interview, also included on this
Ustvolskaya.org, that this work was composed in 1949.
17
The exact number of works included in her official catalogue, all handled by the German
Ustvolskaya was highly involved in the process of what was and what not to be included
in her catalogue. Four works, The Dream of Stepan Razin, Suite for Orchestra, and the
two Symphonic Poems were permitted on the official list by the composer only after
several years’ hesitation.42 Both the symphonic poems and the orchestral suite were
subjected to title changes upon entry, as depicted on the chart above, each originally
bearing titles more appealing to the socialist standards. Other works not permitted by the
composer into her catalogue include: Young Pioneer’s Suite (1950), Children’s Suite
(1952), Man From a High Hill (1952), Song of Praise (1961), film scores, and a Quartet,
Sinfonietta, and Sonata for cello.43 The latter three, each bearing no date, were destroyed
by the composer in the 1960s as she later became dissatisfied with them. In an interview
42
Ustvolskaya.org: “Catalogue,” http://ustvolskaya.org/eng/catalog.php.
43
Rachel Jeremiah-Foulds is in the process of completing a paper on the stylistic features
of the works that have been omitted from the official catalogue. In her research she has
found scores not listed on the ustvolskaya.org website as official or unofficial. For the
purpose of my research, I will contain my list to the works contained on the website.
18
these works, stating that she composed these works because of financial difficulties and
the desire to help her family. She expressed that one can see differences between these
works and her real works, and that is why they are not on the list.44 Ustvolskaya was not
composers. Early in her career, she experienced the political ramifications of composing
in her own unique style. She recalls, later in the same interview, her temporary removal
from her teaching position at the Conservatory due to the reception and style of her
Concerto for Piano, String orchestra, and Timpani (1946). Her students conducted
spirited protests and Ustvolskaya was eventually reinstated.45 The political interference
would leave her with an indelible negative impression which she would carry with her for
After this experience, Ustvolskaya became adept at hiding or adapting her style in
order to compose works that would be deemed appropriate by the socialist standards.
This allowed her to experience relative success in the performance realm. The three
previously mentioned works, The Dream of Stepan Razin, Suite for Orchestra, and the
first of the Symphonic Poems were each performed within a year or two of their
compositional dates. These works, of course, are some of the earlier compositions that
hovered between the two opposing camps: formalist or socialist. Other works, which fall
firmly in her own unique style, that surely exhibit the traits that would place her in the
formalist division would not enjoy the same success. Compositions such as the Trio
44
Gladkova, 29.
45
Ibid., 34.
19
(1949) and the Octet (1949–50) would wait approximately twenty years for their
publications and premieres, a distance that became the norm for much of her
compositions. The performance rate of her compositions would again increase in the late
Not only did the political restrains impact the reception of Ustvolskaya’s works,
but they also influenced her unique compositional aesthetic. Certain gestures or musical
idioms are suggestive of other composer’s styles, composers she would surely have been
aware, or may even have had brief encounters with despite her reclusive lifestyle.
Scholars have suggested Hindemith, Bartók, Pärt, Messiaen, and of course, Shostakovich,
as influencing her music; however, these are not the qualities that define her
obsession with repetitive motivic permutations, and her hypnotic treatment of rhythmic
approaches— past or present. Many of the surface attributes of her works appear at first
to align well with the principles exemplified in a minimalist aesthetic. Edward Strickland
compositional designs, her works, at times, do embody many of these traits, particularly
her use of continuous rhythmic momentum for long periods of time, sparse textures,
cells; however, her reliance upon continuous motivic permutations and the concealment
46
Edward Strickland, Minimalism: Origins (Bloomington: Indiana University Press,
1993): 4.
20
of the processional design betray the foundation of the minimalist aesthetic. Dissonance
is certainly favoured over consonance, creating an ascetic and piercing soundscape which
motivated Dutch critic Elmer Schönberger to bestow Ustvolskaya with the nickname “the
Although Ustvolskaya’s Sonata for Violin and Piano (1952), the work performed
for the visiting American composers (1958), was composed relatively early on in her
compositional oeuvre, the work exhibits many of the traits that have become synonymous
with her compositional style (figure 1.3 provides a brief score excerpt from this work).
Established at the onset of the work and continued for its entire duration are surface
lines, manipulation of the pulse through sporadic placement of rests, impulsive statements
durations.
based upon continuous reiterations of motivic cells of varying lengths. The work is cyclic
in nature, always drawing from the initial material established at the beginning. The
motives controlling both the horizontal and vertical domains are then exposed to
repetitions based upon permutations of the initial motivic block. Certain interval-classes
Sonata, and in many other works, the dominating or controlling interval classes are 1 and
5.
47
Ian MacDonald, “The Lady with the Hammer,”
http://www.siue.edu/~aho/musov/ust/ust.html, accessed July 17, 2013.
21
Figure 1.3. Score excerpt: Sonata for Violin and Piano (1952)
Ustvolskaya assigned the label of a “Sonata” to this work, but like many of her
later compositions, the work defies the traditional concept of the form. It is a single-
movement work motivically structured upon an initial group of principal motives. As will
exhibit traits aligned more closely with a theme and variation organization, as opposed to
any of the generic labels that Ustvolskaya assigned them. She chose to work mainly with
22
small, sometimes obscure instrumental arrangements.48 She was always adamant that her
chamber music. Ustvolskaya believed that her works would be confined by the definition
and any assumed characteristics of this genre of instrumental music, she stated:
Ustvolskaya grew steadily distrustful of interviewers, as she felt they misrepresented her
the traditional forms and analytic models associated with twentieth-century trends, but
gender theory and its role and importance in the compositional realm. Jill Halstead’s
book, The Woman Composer: Creativity and the Gendered Politics of Musical
Composition,50 delves into the psychology, social history, and the gendered politics
involved in both the creative musical process and elements sediment in the finished
48
Composition no.2 (1972/3) is scored for eight double basses, percussion, and piano.
49
Gladkova, 3, trans, Andrei Bakhmin, http://ustvolskaya.org/eng/creativity.php
(accessed July 1, 2013).
50
Jill Halstead, The Woman Composer: Creativity and the Gendered Politics of Musical
Composition (Aldershot: Ashgate Publishing Ltd., 1997). Susan McClary also delves into
the issues of gender codes in musical compositional and the gendered aspects of musical
theory in her book: Susan McClary, Feminine Endings (Minnesota: Minnesota Press,
1991).
23
composition. In the final chapter of her book, Halstead goes into great detail about the
subject of sex and gender and its relation and relationship with the composer and
representation or shared understanding, reveal sex (biology: male and female), or gender
(masculinity and femininity) regardless of the sex or gender of its creator?”51 In regards
affirmative. To approach this topic, Halstead employs psychologist Sandra Lipsitz Bem’s
Gender Schema theory begins with the observation that the developing child
invariably learns his or her society’s cultural definitions of femaleness and
maleness. In most societies, these definitions comprise a diverse and sprawling
network of sex-linked associations encompassing not only those features directly
related to female and male persons – such as anatomy, reproductive function,
division of labour, and personality attributes – but also features more remotely or
metaphorically related to sex, such as angularity or roundedness of an abstract
shape.53
The learned gendered associations or attributes are then extended to describe and
categorize objects, behaviors, emotions, roles, and even elements of a composition, into
51
Halstead, 216.
52
Sandra Lipstiz Bem, “Gender Schema Theory and Its Implications for Child
Development: Raising Gender-Aschematic Children in a Gender-Schematic Society,” in
Psychology of Women: Ongoing Debates, ed. Mary Roth Walsh (New Haven: Yale
University Press, 1987), 232.
53
Ibid., 231–32.
24
differences on a variety of levels unrelated to gender. Lipsitz Bem asserts that perception
“is a constructive process in which the interaction between incoming information and an
every aspect of music – the inherent quality of sounds, the organization of such sounds,
their form, our responses to them and their perceived meaning – can all be understood as
exemplify or embody female attributes simply because the composer was female.
Gendered musical associations are imposed from the other, outside influences upon the
composer and/or listener, and therefore do not inhabit a fixed position, as the categories
are always open to reinterpretation. Predetermined influences upon the listener, such as
background, family, and education, impact if and how the gendered associations are
classified during the cognitive process. In order to understand better and grasp the
As Halstead discusses, the division of these terms into their respective categories
can be easily traced to their sources: the culturally-imposed attributes of the male and
female genders, in respect to the body, sexuality, and psychology.56 These terms can then
54
Ibid., 232.
55
Halstead, 235.
56
Ibid., 236.
25
dubious fashion; for example, in respect to the compositional form, musical range,
as a gendered object.
markings of fffff, the booming percussive additions, and her fondness for the registral
extremities of the instruments, could embody many of the descriptive attributes contained
57
Ibid., 237.
26
in the male category: hard and angular, booming, large and dominant, and harsh.58 All of
these terms have been used by critics to describe the soundscape of Ustvolskaya’s
compositions, and fit quite comfortably with her media nickname, “the lady with the
hammer.”
attributes as well as Ustvolskaya’s avoidance of female vocals and the portrayals of the
role as a Soviet women, and her desire to be seen as a genderless composer. She states,
in many ways, for both the male and female.”59 The status and role of women in the
Soviet society is a complicated issue. Collective equality meant that both women and
men were expected to work for the government, and thus were given equal opportunity
for education, promotion, and employment. This allowed Ustvolskaya to study and
were expected to carry out their traditional domestic roles without recognition or
compensation which affected their ability to realize their full potential in society. “As a
result, true equality between me and women was never fully achieved in the Soviet Union
to subvert her femininity and be seen as a genderless composer or whether she was
58
Jeremiah-Foulds (2007), 5.
59
Ibid., 13.
60
Ibid., 3.
27
simply using a language that she felt reflected her voice and experiences in a politically
charged Soviet society effectively, the fact still remains that her compositions are
discussed and characterized using classification schemas. Many female composers feel
that discussing and isolating their music simply based on the fact that they are female,
and, I would add to this position, placing or forcing gender attributes onto to their works,
only further marginalize their compositions and their legitimacy as a composer. British
We should not be seen as a group; probably the only thing we have in common
with each other is our gender. I do not want my music chosen to be played in
concerts; I do not want it chosen because it was written by a woman.61
With regard to the ‘Festival of Music by Women composers’ I should like to say
the following: Can a distinction really be made between music written by men and
music written by women? If we now have ‘Festivals of music by Female
Composers’ then shouldn’t we have ‘Festivals of Music by Male Composers’? I
am of the opinion that such a division should not be allowed to persist. We should
only play music that is genuine and strong. If we are honest about it, a
performance in a concert by Women composers is a humiliation for the music. I
hope very much that my comments will cause no offence – what I say comes
from my innermost soul.62
Lipsitz Bem states that no other dichotomy in human experience appears to have
as many entities linked to it as does the distinction between female and male.63 It is
encouraging to see that the gender attributes are not considered a byproduct of the gender
of the composer. As Lipsitz cautions, the attributes associated with gender are a learned
61
Diana Burrell, “Accepting Androgyny,” Contact 32 (1988), 52.
62
“Galina Ustvolskaya,” Sikorski, http://www.sikorski.de/composers/composer25.html,
(accessed July 13, 2013).
63
Lipsitz Bem, 232.
28
composition is not advantageous to the work. “The lady with the hammer” employs a
strong, decisive melodic, harmonic, and rhythmic language. She insists on extremes of
dynamics ranges, and similarly exploits the extremes of the instrumental ranges. She
thoughts, emotions, and beliefs of a composer who felt more comfortable expressing
them through the compositional process. Gender classification systems, like Halstead’s,
essentializes both female and male characteristics, a process that is unfair to both genders.
Conclusion
void in analytical studies of her music. The focus of the scholarship must shift from her
her compositions, and instead delve more deeply into the inner workings of the
compositions that make them unique and deserving of our attention. There is no doubt
that her language is idiosyncratic. Her compositions exhibit characteristics that both
exemplify emotions of the Soviet society, while at the same time defying the ideals of the
approaching her works with an old-fashioned or dated ear will not reveal or undercover
methodology that enables one to best approach this unique repertoire. Chapter Two
application of this approach he developed for the music of Ruth Crawford Seeger as my
29
foundation, I explore, expand, and, modify the terminology and methodology to better
complex network of motivic manipulations will emerge that saturate both the horizontal
and vertical domains, controlling both the surface and background planes of the work.
evolution that is founded upon motivic simplification with regard to presentation and
underlying foundation. Earlier works (Chapter Two, Octet (1949/50)) display a motivic
network that is more intricately woven, exhibiting motivic manipulations that are more
complex and disguised as compared to the later works. The analysis of the five-
movement Octet is the most detailed illustration provided in this dissertation and serves
as the exemplar of the contextual approach. The middle compositional period (Chapter
Four, Duet for Violin and Piano (1964) and Composition no. 1 (1970)) display the initial
movement towards a more simplified motivic format as the underlying motivic repetition
becomes less disguised and complex while still embracing many of the characteristics
exemplified in the Octet. The final analytical chapter, Chapter Five, is devoted to two of
her later works (Symphony nos. 3 and 4 (1979 and 1985–87)). These works demonstrate
the culmination of her stylistic evolution. Simplicity of form, motivic presentation and
development lay on the surface of these works, exposing the compositional design that
Ustvolskaya’s compositions, but also maintained is her unique, sonic signature. Elements
30
isolated in the Octet, such as her proclivity for employing ics 1 and 5 in both the
horizontal and vertical domains, her preference for constant, uniform pulsation, and her
consistent throughout the evolution of her style, making her works instantly recognizable
The final chapter, Chapter Six, will revisit the topic of context, now equipped
Chapter 2
compositions that resist traditional tonal and atonal approaches. Motivated by the work of
David Lewin, the emergence of transformational theory during the latter part of the
twentieth century has greatly expanded the resources available to the music analyst. As
the focus away from equivalence relations among individual pitch-class collections and
instead stresses the dynamic nature of events and gestures.”2 Contextual transformations
1
Olga Gladkova, Galina Ustvolskaya: Muzika kak navazhdenie [Galina Ustvolskaya:
Music as Obsession] (St. Petersburg: Muzyka Publishers, 1999), 29. Translated by
Andrei Bakhmin, http://ustvolskaya.org/eng/interview.php (accessed July 1, 2013).
2
Phillip Lambert, “On Contextual Transformations,” Perspectives of New Music 38
(Winter 2000): 46.
32
relationships between motivic events where the connections and derivations may at first
appear nebulous or perhaps even absent. As context is a shifting variable, analysts are
able to mould their approach to fit the needs or relationships that exist in a particular
Theorists who have developed a contextual analytic approach to fit the music of a
particular composer include Philip Lambert, Lora Gingerich, Robert Morris, Jeffrey
multiple levels of the compositions, revealing relationships that were previously left
specific composer, such as Gingerich with Ives and Straus with Crawford Seeger. My
short, compact motives or motivic configurations established at the onset of each work.
3
Ibid; Lora L. Gingerich, “A Technique for Melodic Motivic Analysis in the Music of
Charles Ives,” Music Theory Spectrum 8 (Spring 1986): 75–93; Robert D Morris,
“Conflict and Anomaly in Bartok and Webern,” Musical Transformation and Musical
Intuition: Essays in Honor of David Lewin, ed. Raphael Atlas and Michael Cherlin
(Roxbury, Mass.: Ovenbird, 1994), 59–70; Jeffrey L. Gillespie, “Motivic
Transformations and Networks in Schoenberg’s “Nacht” from Pierrot Lunaire,” Intégral
6 (1996): 34–65; Joseph N. Straus, The Music of Ruth Crawford Seeger (New York:
Cambridge University Press, 1995).
33
These motives have a great impact on the entire composition, saturating both the
horizontal and vertical domains simultaneously. As the individual movement and overall
process that is rooted in the concept of varied or developed repetition. The element of
compositional designs and is an integral component in the creation of both unity and
exhibit motivic designs that are deceptive on the musical surface. The governing melodic
motives are stated in the introduction to each work. The introduction is then followed by
the movement), and derivatively (providing material for the proceeding movements).
technique of developing variation as both approaches are founded upon an initial motivic
4
For more in-depth discussions focused upon the element of repetition and its
incorporation into various analytical approaches (without moving into the realm of
minimalism), please see: Adam Ockelford, Repetition in Music: Theoretical and
Metatheoretical Perspectives, ed. Mark Everist and Ian Rumbold (Aldershot: Ashgate
Publishing Limited, 2005); Dora A. Hanninen, “A Theory of Recontextualization in
Music: Analyzing Phenomenal Transformations of Repetition,” Music Theory Spectrum
25, no. 1 (Spring 2003): 59–97; John Rahn, “Repetition,” Contemporary Music Review 7
(1993): 49-57.
34
Although his technique or form has notoriously been a slippery concept to grasp,
Ustvolskaya’s method of motivic development does not align with one of the clear
throughout the work is always founded upon the motivic organization exposed in the
opening measures; it is not structured upon progressive development, an element that lies
Ustvolskaya’s use of repetition aligns more closely with the common form of
theme and variation; however, her technique exhibits some characteristics that do not
correspond. She structures the introduction of each work motivically, not thematically,
and the music that follows consists of transformations of these motives, at times audibly
obscuring their derivations. The boundaries between the variations are at times blurred
and result in elisions occurring across sections. Despite these differences her approach
most closely resembles the form of theme and variations. Therefore, I will adopt and
adapt the terminology associated with this design. Instead of theme, the initial section
will be designated as the introduction6 and the subsequent variations present motivic
5
Arnold Schoenberg, Style and Idea: Selected Writings of Arnold Schoenberg, ed.
Leonard Stein, trans. Leo Black (London: Faber & Faber, 1975). For more on the topic of
developing variation please refer to: Walter Frisch, Brahms and the Principle of
Developing Variation (Berkeley: University of California Press, 1984); Walter Frisch,
“Brahms, Developing Variation, and the Schoenberg Tradition,” 19th-Century Music 5,
no. 3 (Spring 1982): 215–232.
6
I employ the term introduction opposed to theme because for many of Ustvolskaya’s
compositions, such as Symphony no. 3, the opening material providing the motivic
foundation for the work lacks a typical thematic statement. The motivic material is
simply presented in a vertical chord which provides the basis for the entire work.
35
Not only does Ustvolskaya create her own formal design, but also the texture and
presentation of the instrumental lines are idiosyncratic to her style. Her works that fall
into the earlier stages of her compositional career, such as the Trio (1949), Octet
(1949/50), and Sonata for Violin and Piano (1952), employ multiple lines unraveling
simultaneously and continuously throughout the work. It is common for the piano, an
instrument that is a participant in almost all of her compositions, to present more than one
voice, at times weaving an extremely dense texture. As her style evolved the degree of
independence between the individual lines lessens but the polyphonic texture is still
maintained. The fact that Ustvolskaya employs the texture of polyphony is certainly not
unique. How Ustvolskaya inserts her individual compositional voice or personality onto
this technique is in the interaction or perhaps better described as the behaviour of the
voices.
Although there are many nuances to a definition of polyphony, the principle that
most scholars agree upon is one in which the fundamental organization of the
with their own independent phraseology and the co-termination of phrases is usually
upon co-operation or dependence among parts. Put simply, a homophonic texture consists
of a structural framework of melody supported by a bass line with inner parts providing
Therefore, I view the opening measures of the work as functioning to introduce the
motivic foundation for the work. The motives are presented in their simplest forms in this
section.
7
New Grove Dictionary Online, s.v. “Polyphony” (by Wolf Frobenius),
https://www.grovemusic.com (accessed July 13, 2013).
36
harmonic, rhythmic, and textural expression and support. Both textural approaches
employ multiple strands, but where the distinction lies is the manner in which the
having a distinct personality and momentum, while at the same time these strands lack in
individual identity or purpose if removed from the vertical complex. Both dimensions
motivate the forward motion of the work. This textural environment is a direct result of
the extent to which Ustvolskaya’s compositional designs are motivically controlled and
Methodology
into account the variances in her compositional aesthetic which involves her approach to
motivic development and texture duality that oppose traditional approaches. A contextual
methodology provides both the flexibility and adaptability necessary to approach this
Ruth Crawford Seeger.8 Although Crawford Seeger and Ustvolskaya created music in
8
Straus, Music of Ruth Crawford Seeger.
37
combinational use of elements from both contour space (direction) and interval-class
space (size) that he then applies to Crawford Seeger’s melodic segments. The product
from the combination of these two spaces has been coined a “directed interval-class
segment” (henceforth abbreviated as DI, plural DIs).9 The notion of a directed interval
class conflicts with the inherent quality of an interval class, since this concept by
definition does not possess direction. However, a directed-interval class should be viewed
as a compound operation, one measuring distance and the other direction. The interval
class is the unit of measurement indicating distance. Direction is a separate quality that is
applied after the interval has been converted to an interval class (as will be conducted in
the following examples). The two-step process makes the juxtaposition of two seemingly
9
Straus does not employ the term directed interval-class segment in his study on
Crawford Seeger, but rather adopts Charles Seeger’s terminology, from which he draws
and expands on for most of his methodology. Straus refers to directed interval-class
segments as neumes (Seeger’s term). As Straus outlines (Crawford Seeger, 21), the
principal characteristics of a neume are: consist of at least three events (eg. pitch classes),
is defined by its internal progressions (motion among its elements), and need not consist
exclusively of pitches (Seeger also isolated neumes in the rhythmic domain). Straus’s
extension of the neume is what I have adopted and will be referring to as directed
interval-class segments for the remainder of this dissertation. Roxane Prevost developed
this term in her master’s thesis focused on Straus’s work on Crawford Seeger. For further
reading on Seeger’s methodology please refer to the text: Charles Seeger, Studies in
Musicology II: 1929-1979, ed. Ann M. Pescatello (Berkeley: University of California
Press, 1994). For Prevost’s work, please refer to: Roxane Prevost, “A Transformational
Analysis of Ruth Crawford Seeger’s Sonata for Violin and Piano (1926)” (Masters thesis,
University of Western Ontario, 1999), 30.
38
acceptance of this union allows for more significant equivalence relations and more
meaningful manipulations.
Figure 2.1. Four equivalent directed interval-class segments (DIs): <+2, -4>
Employing interval classes (0-6) instead of ordered intervals (0-11) increases the
number of and possibilities for equivalence relations. As depicted in the four gestures
illustrated in figure 2.1, each segment employs at least one different pitch (this is
accomplished through octave displacement) but always retains the three identical pitch-
classes: 6, 8, and 4. By adopting the interval class as the unit of measurement, not only is
octave placement usurped in the measurement, but also intervallic complements. Intervals
larger than 6 are considered equivalent to their mod 12 complement: i.e., ordered interval
8 is reduced to interval-class 4 (as illustrated in figure 2.1c and d). As shown in figure
2.1a,b, c, and d, each of the four gestures would receive identical interval-class
and thus are designated as either positive or negative depending upon if the motion is
ascending or descending. For some cases, but not all, the direction is identical to that
depicted by the pitches on the score. In the instances where the interval was originally
10
Interval classes and pitch classes will be abbreviated to the common forms of “ic” and
“pc” for the remainder of this dissertation. Pcs 10 and 11 will be abbreviated to e and t.
39
greater than 6, and was accordingly converted to its mod 12 complement, direction will
be determined after the conversion. This concept becomes clear when one compares
figure 2.1b with 2.1d. In figure 2.1b each of the interval presented in the excerpt is less
than 6; therefore, converting to ics did not alter the direction. In figure 2.1d, both
intervals are affected by the conversion to ics and because of this the direction indications
of positive and negative do not correspond to the surface presentation of the motive.
Direction is always determined after the intervals have been converted to ics. Each of the
four gestures will be given an identical label of <+2, -4> despite their surface differences
on the score, and are considered equivalent. This label identifies each gesture as a DI.
DIs provide the building blocks for an analytical methodology that highlights the
style, Ustvolskaya works with small motivic cells and condensed melodic phrases.
Restricting the segments to a pair of ics (i.e., three-note segments) provides the analyst
regarding the analysis of the Octet, ic 6 is present in the principal motive of not only the
first movement, but also the remaining four. Due to its frequency of appearance and its
thus indicated as <+/-6 > in each of its occurrences. As will be demonstrated in the
40
Employing the DIs as the fundamental building blocks for his approach, Straus
traversed by the melodic (or horizontal) domain.12 The chart provided in figure 2.2
illustrates the transformations that I will be employing in the analysis of the selected
compositions by Ustvolskaya. The first and second columns provide the formal
designations for the transformations coupled with the abbreviated symbols that will be
employed on the score or delineated section. The third and fourth columns illustrate the
depiction, employing letters in place of interval classes, demonstrating the alterations that
possible outcome for a particular transformation, now illustrated as actual pcs. The first
entry in the fourth column depicts the initial DI that will serve as the basis for each of the
11
In other words, instead of having to account for a direction change via some sort of
transformation, this ic will always be paired with both directional qualifiers. As will be
demonstrated in the analytical portions of this dissertation, this reduces the amount of
transformations (compound), and thus highlights the more significant ones.
12
Straus outlines the definitions for his transformations on pp. 34-40 (Straus, Crawford
Seeger). Roxane Prevost has conveniently placed his definitions in chart-form in her
dissertation (p. 32). Portions of her chart are replicated in the first three columns of figure
2.2.
13
The directional designations assigned to the prime form in the third column are positive
(ascending) for the purpose of this example. The direction could have been negative
(descending) or a mixture of both negative and positive (as is the case for the example
notated in the fourth column).
41
<+4, -2>
Prime Form P - Identical order and
direction
- P <+a, +b > <+a, +b > <+4, -2>
Inversion I - Identical order and
inverted direction
- I <+a, +b > <-a, -b > <-4, +2>
Retrograde R - Reversed order and
inverted direction
- R <+a, +b > <-b, -a > <+2, -4>
Retrograde RI - Reversed order and
Inversion identical direction
- RI <+a, +b > <+b, +a> <-2, +4>
14
Multiple MULT - Expansion or contraction
Expansion or of both intervals by the
contraction same multiple,x
- MULT <+a,+b> <+2, -1>
<+xa,+xb>
Expansion or EXP or - Expansion or contraction
*Contraction CON15 of both intervals by the
same amount,y CON: <+3, -1>
- <+a,+b> <+a+ y,
+b+ y>
14
A multiplication transformation is commonly abbreviated to Mx, with x defining the
multiplication value. Due to the fact that I do not define this value in my equations, it is
simpler to employ the MULT abbreviation, as Straus did in his study.
15
Straus and Prevost do not provide a corresponding CON or PCON label in these
categories and simply label either of these contractions as an EXP. A CON is considered
a negative expansion. Due to the intricate and sometimes lengthy equations that arise in
Ustvolskaya’s motivic designs, particularly in the Octet, I have chosen to give the
42
that expose relationships that hold significance, either at the local level or overall
connectives throughout the work. As will be demonstrated in the analysis of the Octet
compound operation throughout the work thus providing motivation for prioritizing its
presence.
approach to Ustvolskaya’s Octet I have adapted and modified certain elements and
Two additional transformations not included in Straus’s design, but which I will
contraction transformation its own abbreviation in order to ease the reading of the
transformation equations.
43
by Robert Morris.17 In his study Pearsall studied a variety of short segments from the
Straus’s study of the music of Crawford Seeger. What Straus isolated and referred to as
for the pc relations in each step of the transformation (compound operations now
including pitch relationships), whereas Straus is solely concerned with the ics and their
operation into his methodology,19 DIs could also be subjected to this transformation in
this case with the focus shifted towards ics instead of pcs.
16
Edward Pearsall, “Transformational Streams: Unraveling Melodic Processes in
Twentieth-Century Motivic Music,” Journal of Music Theory 48/1 (Spring 2004):69–98.
17
Robert Morris, Composition with Pitch-Classes (New Haven: Yale University Press,
1987).
18
Pearsall, 75.
44
segment where the number of rotational products is equal to the number of elements in
the set. As shown in Figure 2.2, I have adopted both Morris’s and Pearsall’s identification
system of employing a lower case ‘r’ with the accompanying rotation number to
my employment of this transformation deviates from Pearsall’s. The prime forms of the
principal motives, represented by the DI components, will be the basis for rotation the
original non-rotated form. As the ics are the focus and foundation of DI, the rotational
process will be based upon the ordinal positions of the ics rather than the pcs.21 The ics
that are produced in the process will define the rotation rather than the pitch-class
products. As the motives in my analyses solely employ three pcs in their prime forms
there will be two possible rotations. Figure 2.3a is a depiction of the prime form of a
motive employing letters a, b, and c to represent the pcs. Figure 2.3b is a depiction of the
DI employing letters x, y, and z in place of the directional numerals of a DI. Figure 2.3a
demonstrates where the third component of a DI (z) is present in the prime form: the
intervallic distance from the last pc to the first. As shown in figure 2.3b, the third
directed-ic, z, is omitted in the formal designation of the prime form when written as a
DI.
19
Straus does discuss the concept of rotation in regards to rotational serialism. He applies
this concept to a complete melodic strand and does not incorporate it into the possibilities
of transformations subjected upon DIs (pp.73–76).
20
Pearsall, 73.
21
Whether one rotates the pc ordinals or the ic ordinals, the same rotational constructions
appear. I apply this transformation upon the ics in order to maintain the priority of ics
above pcs that is fundamental to this methodology.
45
2.2). This transformation is similar to Pearsall’s shape transmutation, but because I have
from Pearsall’s. Pearsall defines his operation as a transformation that “maintains the
pitch-interval content of a motive, but inverts one or more of its contours.”22 Partial
contour inversion, on the other hand, maintains the size of the interval classes but inverts
the direction of one of the interval classes— a small difference in terminology, but a
deviation that can produce different products or paths during its application.
Despite the fact that pitches or pitch classes are not necessary components for
throughout the analyses. As will be demonstrated in the analytical chapters, certain pcs
will rise in importance due to their motivic participation, registral placement, formal
location, and frequency of appearance. These pcs will be isolated in the analysis and their
influence upon both the motivic organization and long-range relationships will be
discussed.
22
Pearsall, 74.
46
by its intervallic components. The directed interval-class segments provide the means to
measure the motives and their derivations on the horizontal domain and thus act as the
identifying component of each motive. The motives and subsequent derivations are
identified by both their DI components and the transformations that activate them. The
arrangements of the opening motivic material. The manner of presentation ranges from
displaying the motives in their prime forms with little superfluous addition, as is the case
in the Duet for Piano and Violin (1964), to employing the motives as the prime
methods of organizing the motivic presentations include repeating the prime motivic
content with minute alterations and segmental re-ordering and additional layering
across the compositions is the promotion of the principal motive(s) in the introduction.
Each of the compositions identified above will be analyzed within Chapters Three, Four,
and Five.
Horizontal Application
manifestations in both the horizontal and vertical domains. The horizontal domain
displays transformational paths that are more intricate in nature and thus can present
complex transformational equations. The DIs and their transformations are able to
47
illustrate accurately the relationships and transformational paths that dictate the
similar destination or outcome. In these instances context will determine the better route
by employing criteria based upon the length of route or preference for an active
Motives on the horizontal domain emerge from both adjacent and non-adjacent
pitches can be collected and ascribed associative relationships. Boundary ics emerging
from pitches that fall at the start, middle, and conclusion of melodic strands are
in nature, also surface in the transformational routes. This type of motive is defined as a
The nested motive is commonly acting to “fill in” an intervallic or temporal space that
was created by the active principal motive. The concept will gain greater clarity in the
Vertical Application
The same motives that control the horizontal design are also dictating the vertical
organization; however, the approach to measuring and identifying these same motives
must be adjusted. The DIs that measure and decipher the motivic content and motion
(transformations) of the horizontal domain can not be attributed to the vertical dimension
in their true form. The three qualities necessary to assert a complete DI are size, direction,
48
and order. Only size can be attributed to the vertical dimension.23 As direction and order
can not be attained in a verticality, it is only the intervallic numerical components that are
retained and represented in this dimension, and thus a true, complete DI is not present in
this domain. It is the size component of the DI that will be isolated and utilized in the
vertical domain to decipher the motivic content. Only the intervallic components
associated with the prime version or principal transformation of the individual movement
have strong enough identification factors to be asserted in this domain. If one were to
allow the intervallic components of DIs that arise during less significant transformations,
Ustvolskaya’s later works, when the number of individual strands is reduced, simple
As order is also not applicable on this dimension, the third intervallic component
element through the transformation of rotation) will also be accounted for during the
analysis of verticalities. As shown in figure 2.4a, the prime form (P) of motive two
(Mtv2)24 is given the DI identification of <+/-6, +1>25 in its horizontal arrangement. The
23
The relationship of transposition will also be highlighted in this domain. Throughout
the analyses, I will be relating pcs in a static verticality to one another or a string of
verticalities unfolding uniformly with one another that illustrate important intervallic
associations with a motive. The element of transposition can invoke the property of
direction, thus another element of a DI can, at times, be associated with this dimension,
albeit, in an abstract manner. This concept will gain greater clarity in the analytical
chapters.
24
Motives will henceforth be abbreviated as Mtv with the accompanying numerical
designation.
49
These are the intervallic numerical properties that will be isolated and deciphered in the
<+5>
<+/-6> <+1>
formation of multiple trichords. This is due to the fact that each of the pitches belongs to
a concurrently unraveling horizontal strand, and the strand can be associated or linked
trichords with a motive, in this case Mtv2, what is necessary is the presence of two of the
defining intervallic qualities of this motive: ics 1, 5, and 6. A feature that will prove to
hold significance in the analysis of not only the Octet but also her later works, is
especially in the vertical domain; therefore, the vertical domain will commonly be
25
This is the principal motive of the Octet and will be the analytical focus of Chapter
Three. The two vertical sonorities replicated in figure 2.4b are the identical sonorities
discussed and deciphered during the analysis of the Octet, illustrated in figure 3.13.
50
Mtv2: <561>, <612>, <671>, and <672>. Through varying arrangements of the primary
ics 1, 5, and 6, set-classes 3-4 and 3-5 are produced. As previously discussed, pcs can be
participating in more than one motivic formation, as is the case for each of these pcs with
the exception of pc 5. The second verticality, while still accounting for all pcs, only
produces two Mtv2s: <178> and <894>, again producing 3-4 and 3-5 respectively.
Ustvolskaya’s compositional approach evolves, she reduces the number of active strands
and thus there is a stronger, singular motivic representation in the vertical domain. The
vertical domain therefore does not employ the intervallic segments to demonstrate a path,
Figure 2.4b. Vertical representations of Mtv2: 3-4 and 3-5 [ics 1, 5, and 6]
Four 5 6 1 1 87
Mtv2 6 1 2 89 4 Two Mtv2 trichords
Trichords 1 6 7
6 7 2
ic 5 ic 5
51
Conclusion
Chapters Three, Four, and Five will provide an analytical pursuit of a variety of
Scholars, such as Rachel Jeremiah-Foulds, have separated Ustvolskaya’s oeuvre into two
distinct periods, early and mature.26 However, because the theoretical characteristics that
make her music unique and distinct are present throughout her entire oeuvre, I believe
that her works should not be separated into two distinct style periods, but instead be
style is built upon a foundation firmly rooted in a particular technique of repetition that I
describe as processive. Throughout her career her style undergoes a process of refinement
and simplification. In her later compositions the surface complexity that was present in
the earlier works, the intricate relationships of numerous layers, is thinned out.
Sparseness, angularity, and an affinity for clashing cluster chords become the norm, and
yet the motivic networks and permutations that were at the theoretical core of her earlier
works, remain intact. An analytical approach built upon the contextual transformations
defined in this chapter will enlighten our understanding of her works and demonstrate
26
Jeremiah-Foulds, unpublished chart, 2010; Marian Lee, “Galina Ustvolskaya: The
Spiritual World of a Soviet Artist” (PhD diss., Peabody Conservatoire, 2002).
52
Chapter 3
Chapter Three focuses solely on an analysis of the Octet (1949/50) scored for two
oboes, four violins, timpani, and piano. As addressed in Chapters Three through Five the
Works that fall into her early style, including the Trio (1949), Octet (1949/50), and
Sonata for Violin and Piano (1952) depict a more complicated design, where elements
such as motivic repetition are obscured on the surface. As her style evolves the motivic
structure of the works become less deceptive to both the eye and ear, while still
maintaining the same overall compositional design. The first portion of Chapter Three
provides an extensive analysis of the first movement of the Octet, demonstrating the
design of the melodic content throughout the entire movement. The second portion of this
chapter focuses on the remaining movements, two through five, demonstrating the
53
derivation from the first movement and dissecting the individual motivic developments
within each.
only two years earlier in 1947. Of her major works, only the Concerto for Piano, String
Orchestra, and Timpani (1946) and the Trio (1949) predate this work. The Octet was
composed over a two-year period from 1949–50, premiering approximately twenty years
later in Leningrad. The delay is a direct result of the political environment of the late
1940s, particularly the establishment of the Zhdanov decree (February 10, 1948). The
Octet evinces the characteristics of formalism and thus its existence remained hidden
compositional approach. It drives the momentum, it delineates the form, it fuels the
only does the identity of the first movement emerge, but also the foundation for the
introduction, three motives saturate both the horizontal and vertical domains and these
motives will have a great impact on the entire work. As the movement progresses, it is
these motives that will be subjected to a process of development, a process that is rooted
(form of the movement), and derivatively (providing material for the proceeding
movements). The delineations of the sections in movement I are provided in figure 3.1.
Section Measures
Introduction 1–7
Variation I 8–16
Variation II 16–29/30
Variation III 31–38
Variation IV 39–46
The reserved character of the opening seven measures does not alert the listener to
the impact or significance that this short section will have on the remainder of the Octet
(score excerpt provided in figure 3.2).Within this brief section the three principal motives
are presented, the form is delineated, and the dichotomy of independence and dependence
between the parts is established. As depicted in figure 3.3, the introduction can be divided
into three phrases based upon instrumentation, density, and presentation of motives.
Oboe I acts as the principal voice for the majority of the introduction. It cuts
through the four separate strands in the piano and presents the motives in their most
undisguised form. In m. 6, however, oboe II is placed higher in register than oboe I and
proceeds to present strongly motivic material. The piano strands and violins II and IV are
important pcs, ics, and reinforce motives stated by the principal voice(s).
55
Three motives are asserted in the introduction and will serve as the foundation for
not only the remainder of movement I, but also the following four. These motives will be
defined and identified by their DI in prime form (provided in chart form in figure 3.4) and
their individual transformational paths will be deciphered and illustrated using the
compositional approach relies upon and is driven by the dichotomy of independence and
dependence between the individual strands or voices of the instrumental parts. I will first
discuss the horizontal organization within each voice and then discuss the significant
DI: Prime Form (P) <-1, +1> <+/-6, +1> <+1, +2>
Initial presentation
of each motive
(pcs)
opposing directions: <-1, +1 >. In the initial phrase, oboe I presents Mtv1 twice: the first
illustrated in figure 3.5, phrase 1 commences on Cs (pc 1) and returns to not only the
same pc but also the original register at the onset of phrase 2. An associative relationship
is established between the two opening phrases with pc 1 as a link. The return to the
initial pc, achieved through a chain of overlapping retrogrades and retrograde inversions
of motive Mtv3,1 along with its participation with the second motive and secondary
instruments present in these measures (to be discussed) gives structural weight to this pc.
Its presence will resurface frequently throughout not only the first movement, but also the
later movements.
Although Mtv1 is the first motive to be presented, it is Mtv2 that acts as the
principal motive for movement I and the following four movements. The prime form of
Mtv2, <+/-6, +1 >, is first presented at the onset of phrase 22 commencing on Cs (pc 1,
the central pc from the initial phrase). The fact that Ustvolskaya has assigned this pc to
oboe II, a participant that has yet to be heard in the introduction and will not be involved
fully until phrase 3, yet again gives added attention and importance to this pc. Since oboe
II does not proceed with its own independent line within this phrase, it is free to hold pc 1
for a duration of six beats, allowing this pc to overlap with the first oboe’s horizontal line.
As shown in figure 3.5, the prime form of Mtv2 first appears on the nonadjacent pitches
1
Mtv3 <+1, +2> thus traverses a motivic chain exhibiting what Lewin would describe as
a rising and falling RICH relationship. David Lewin, Generalized Musical Intervals and
Transformations (Oxford: Oxford University Press, 2007): 180.
2
As will be discussed, Mtv2 is present in the piano strands of phrase 1, but the
presentation by the oboes in phrase 2 is given preference as presenting the prime form of
this motive, due to the oboe being delegated as the principal voice of the introduction.
58
Figure 3.5. Pc schematic: Oboe I and II (introduction, phrases 1 and 2, mm. 1–5)
the pcs 1 and 7 respectively (C, Cs, and G), I isolate pcs 1, 7, and 8 as the intervallic
qualities of Mtv2 prime (Mtv2:P) for two reasons. Firstly, the consecutive movement
between pc 1 in oboe II and pc 0 in oboe I mimics the opening gesture of phrase 1. These
pitches produce not only the first directed-ic of Mtv1, <-1>, but are also the original pcs;
therefore, the motion between these two pcs lack the distinctiveness to assert a prime
form of a new motive. Secondly, pc 8 (Gs) will emerge as the centric pc of the movement
59
as the Octet progresses and this, coupled with the fact that pc 8 is the highest pitch
performed by the oboes in the entire introductory section, motivates my inclusion of this
Mtv2 is the principal motive functioning for the entire second phrase (mm. 3–5).
As illustrated in figure 3.5 and dissected in figure 3.6, there are four forms of this motive
presented within these three measures, two of which are primary statements and two are
nested. As the transformational path illustrates in figure 3.6, the nested Mtv2s both
contain a contraction of the ic 6 originally present in the prime form. This transformation
is achieved through rotation.3 The rotational transformations for Mtv2 are shown in
figure 3.7 (the complete chart of transformations of DIs is provided in Chapter Two,
figure 2.2)
Transformation Prime r1 r2
Pcs 1,7,8 8,1,7 7,8,1
3
A contraction operation (CON) would also achieve an identical result; however, I apply
the rotational operation for two reasons. Firstly, this type of transformation plays a
prevalent role in the proceeding movements. Secondly, although ic 5 is not found on the
surface of prime Mtv2, it is the boundary ic, and is activated in the rotated forms.
Ustvolskaya exploits this ic throughout the introductory passage in varying manners to be
discussed.
60
The rotation operation involves the reordering of the ic ordinal positions that defined the
prime form of Mtv2. The pcs are employed here to aid in the demonstration of the
derivations of the rotations. It is the rotation of the three intervallic components of this
DI, <+/-6>, <+5>, and <+1>, that will be replicated in future motivic manipulations.
As shown in figure 3.7, an r2 operation activates the ic components of 1 and 5, the two
ics present in the following motivic variants: <-1, -5>, <-5, +1>, and <-5, -1>. The
additional transformations employed in this short transformational path are the inversion,
retrograde inversion, and partial contour inversion operations (as depicted in figure 3.8).
(Start)
r2 RI PCI
I PCI (end)
fill in the gaps produced by Mtv2 (as Mtv2 is not formed by adjacent pcs). As shown in
figure 3.5 there are two forms of Mtv3 presented in the latter portion of phrase 2, both
intermingled between components of the final statement of Mtv2. The first occurrence
involves the pitches Fs, E, and Ds (pcs 6, 4, and 3) thus producing the DI <-2, -1 >: a
of the previous statement of Mtv3 given at the boundary point of phrases 1 and 2. The
61
second statement built upon pitches F, E, D (pcs 5, 4, and 2) produces the DI <-1, -2 >, a
retrograde inversion of the preceding statement. The opposition of pcs 6/5 (Fs/Fn) and 3/2
(Ds/Dn) presented in these two statements is a relationship that will reappear and be
The final phrase (mm. 6–7, depicted in figure 3.9) of the introduction serves as a
recapitulation of the proceeding five measures. As previously stated, oboe II usurps the
role of principal voice and presents the three motives in a condensed two-measure
version; therefore, I will discuss oboe II alone first. As shown in figure 3.9, m.6 presents
Mtv1 in prime form, now centered upon Fs (pc 6) a transposition of T5 from the original
62
presentation of this motive in m.1 (centred upon Cs).4 The bi-directional movement of
this presentation, oscillating between pcs 6 and 5, reinforces the opposition of these same
pcs (F/Fs) present in the Mtv3 statements articulated in phrase 2. In contrast to the
consecutive placement in phrase 1, the inverted Mtv1 response is now further condensed
and overlaps with the original prime version (as depicted in figure 3.9). A second
appearance of Mtv1:P is found is m.7, now centered upon G (pc 7), a T6 relation to the
original pcs present in the prime form of Mtv1 of phrase 1. The transpositional
relationships emerging in phrase 3, T5 and T6, reflect the principal intervallic components
of Mtv2.
The initial Mtv1 in m.6 is followed by a presentation of Mtv2 (in oboe II). Again,
pc 8 (Gs) is presented as the highest pitch of the gesture, asserting its importance in the
introduction. As shown in figure 3.9, Ustvolskaya presents Mtv2 in its first rotation, < +5,
+/-6 > (previously illustrated in figure 3.7). Nested within this presentation of Mtv2 is a
chain of Mtv3s in which the initial three are linked by the RICH transformations that
boundary pcs. As shown in figure 3.5, by isolating Cs (pc 1) the centric pc of phrase 1
and the initial pc of phrase 2, Gs (pc 8) the highest pitch of the introduction, and D (pc 2),
the final pc of phrase 2, < -5, +/-6 > emerges. This gesture materializes from a
4
As the Octet progresses, ic 5 will emerge as a prominent gesture and figure, not only in
the context of Mtv2 but also as an organizational agent. This ic is a significant element of
Ustvolskaya’s sonic signature.
63
Mtv2:P r1 I Mtv2:I(r1)
isolating pitches Fs, Cs, and Fn (pcs 6, 1, and 5: first, lowest, and last) the DI <-5, +4 >
complicated than the long-range motivic motion of phrases 1 and 2, but nevertheless,
closely related. Similar to the previous phrase, this gesture is related to Mtv2 and
maintains two of the principal identifying ics from this motive, ics 1 and 5. To obtain this
gesture Mtv2 goes through three transformations: rotation, retrograde inversion, and
contraction.
Between the two passages, two transformations are maintained: r1 and some form of
inversion. These transformations link the phrases of the introduction and give further
introduction, while at the same time introducing a new transformation that will be
Thus far in my analysis of the introduction only the principal voice has been
Ustvolskaya’s compositional approach in her earlier works is focused equally upon both
64
the horizontal and vertical domains. Ustvolskaya employs Mtv1, Mtv2, and Mtv3 to
organize and motivate both the vertical and horizontal dimensions of the entire work.
Every pitch in every voice is a participant in the motivic development. Horizontally, each
voice can be separated from the vertical complex and its origin and path can be
confluence of the voices produce a separate motivic organization, a path that activates the
texture or propels the voices forward in a different manner than what would be perceived
As the introduction functions to establish and assert the three principal motives,
the secondary voices are relegated to a lesser position. They function primarily to
reinforce the motives and isolate important ics and pcs opposed to traversing their own
distinct horizontal paths. After the introduction, these voices will attain greater
importance. The following discussion will investigate the significance of these voices,
Figure 3.12. Score excerpt: Introduction (movement I, phrase 1, mm. 1–2, piano)
As shown in figure 3.12, the piano strands in phrase 1 of the introduction are
uniform in their movement. At first glance and hearing, their organization appears to be
vertically structured; however, by viewing the four voices as individual strands, the
intervallic components of Mtv2 ( <1>, <5>, and <6>) acting as the organizational
foundation. As shown in figure 3.13, verticalities I and II produce various versions of this
motive when incorporating Cs (pc 1) the sustained pc of oboe I (please refer to the
complete score provided in figure 3.2). Each verticality contains two instances of stacked
ic 5s: the first found between the lowest pitch in the piano and pc 1 in the oboe, and the
second found between the inner pcs of the piano’s vertical complex. It is significant that
the outer ic 5s of each sonority contain pcs 1, 6, and 8. Ustvolskaya’s choice of these
pcs 6 and 8 produce symmetrical dyads of ic 5 surrounding this pc: Fs– Css–Gs.
instances of Mtv2 within m.1 (as shown at the bottom figure 3.13, isolated as segmented
Mtv2s). As these are vertical representations of Mtv2, direction is not a quality that is
represented here, nor necessary to define this motive, and thus a definitive
Mtv2, what is necessary is the defining intervallic qualities of this motive, ics 1, 5, and 6,
66
thus producing set-classes 3-4 and 3-5. This vertical dependence upon Mtv2 continues in
Verticality I Verticality II
1 1 oboe I
5 7
7 9
piano strands
2 4
6 8
56 1 1 87
6 1 2 89 4
76 1
67 2
In m.1, each strand of the piano moves intervallically by <+2>. In m.2, however,
Ustvolskaya reveals the independent nature of the piano strands and begins to assert a
within the first two measures the motivic organization is revealed on the horizontal
Two underlying representations of Mtv2 are revealed in the overall melodic shape
in the top two strands of the piano part. Analogous results will emerge in two of the piano
strands by employing a similar tactic utilized to obtain the over-arching intervals of the
oboe line. The DIs <+5, +1> and <+/-6, +1> emerge by isolating the first, middle, and
last pcs of the upper two piano strands: G, C, and Db (pcs 7, 0,1) and F, B, and C (pcs
5,e, and 0). The latter is an unaltered version of Mtv2:P. The former, <+5, +1 >, could be
derived by two different transformations subjected upon Mtv2. Firstly, it could be simply
second path would employ the rotational operation coupled with a retrograde inversion.
Although the first path is shorter, and possibly less convoluted, I choose RI(r2) to
the progression of this work, and thus its placement in the introduction suggests its
The lower two strands of the piano complex are comparatively less active. The
lowest line is suggestive of the pc 5/6 and 7/8 oppositions that will be prevalent in phrase
3 in oboe II. As previously discussed, and depicted in figure 3.9, these pcs will form
prime and inverted variants of Mtv1. The second to lowest strand of the piano mimics
material that will surface in phrase 2 by employing Mtv3:RI, <+2, +1> (the identical pcs
that will be presented in the second phrase by Ob. I, then in R form). Therefore, the lower
two strands of the piano highlight important gestures that will be prevalent in the
5
As discussed in chapter 2, it is common for multiple transformational paths to produce
an equivalent outcome; however, context and future transformational paths dictate which
path should be chosen as the acting agent. In this case, RI(r2) showcases the second
rotation which does resurface in the work at significant junctures.
68
Phrase 2 will conclude the piano’s involvement in the introduction (please refer to
the score excerpt provided in figure 3.2). In m.3, the piano texture is decisively more
active than the countering oboe solo; however, its function is still subsidiary to the
principal line while at the same time maintaining its individual course. Analyzing the
piano strands vertically reveals a similar make-up to its initial introductory phrase. As
shown in figure 3.14, ics 1 and 5 maintain their presence in the verticalities, again
asserting forms of Mtv2. Unlike the intervallic profile of the collections in m.1, ics 5 and
1 are not dispersed as uniformly among the present verticalities due to the diverse
horizontal movement between the lines. Only the first and third lines traverse identical
compositions.
Verticality: 1 2 3 4 5
line 4 9 e 0 2 3 7
line 3 0 2 1 3 4 7
line 2 8 9 e 9 8 5
line 1 1 3 2 4 5 5
(ic 5 ic 1)
Ic 5 in the first verticality is produced by pitches Cs and Gs (pcs 1 and 8); likewise, ic 5
in the fifth verticality is presented by pitches Ds and Gs (pcs 3 and 8). Combining the ic
(the shared pc of the two dyads): Cs– Gs–Ds. This relationship was first observed
resulting between the piano verticalities in m.1, then centered upon pc 1. The significance
69
principal ic of Mtv2 and an interval that will prove to be prevalent throughout the entire
work, is a significant relationship between the two pcs. Secondly, phrase 1 served to
assert pc 1 as a structurally significant pc. This pc then becomes the first pitch of the
and will be the centric or most active pc for the entire work. It is suitable that each of
these pcs is also the principal pc of their individual phrases of the introduction.
The piano strands of phrase 2 culminate on the dyad F/G (pcs 5/7). At first glance,
these pitches may seem vertically out of place, as they produce an ic 2 (not an ic
intervallic component of either of the principal motives, Mtv1 or Mtv2). Ustvolskaya has
the piano repeat this dyad in octaves for mm. 4–5 (please refer to figure 3.2) thus
asserting its importance to the listener and analyst. Vertically, these pcs have a dual role
in the organization of phrase 2: a local function, when taken in combination with the oboe
line, and a structural role, when the piano is considered in isolation. Locally, pcs 5 and 7
can be taken in combination with pc 8 (Gs) from the oboe line, heard on b.1 of m.4.
These three pcs present a vertical representation of the secondary motive Mtv3,
producing <2> and <1>, set-class 3-2. Locally its function is relatively simple and easily
traced; however, by accessing the dyad in isolation from other the instruments, its
Again, the first and fifth verticalities of m.3 are the defining vertical complexes of
this passage. As shown in figure 3.15, the two verticalities are related by T-5 in all but one
associate two sets that are related by transposition in all but one pairing.6 These pcs are
instead related by T5, a movement that obviously correlates to the other pairings, but is
still diverse.
Verticality: 1 5
9 3
Pcs: 0 4
8 8
1 5
*T-5
It is at this point that the piano dyad 5/7 can be explained structurally. If pc 7 (G) had
been present in the fifth verticality, in place of pc 5 (F), then there would have been
uniform pairings of pcs between the two chords, and thus a true T-5. Near transpositions
The violins enter in the final phrase of the introduction (mm. 6–7, please refer to
figure 3.16). Along with oboe I, now relegated to a secondary participant, these strands
oboe II performs the principal motivic line for phrase 3. The subsidiary lines emerge
vertically from the first pitch performed by oboe II, Fs (pc 6). As shown in figure 3.16
6
Joseph Straus, “Voice Leading in Atonal Music,” in Music Theory in Concept and
Practice, ed. James M. Baker, David W. Beach, and Jonathan W. Bernard (New York:
University of Rochester Press, 1997), 237–74. Straus extends the concept in: Joseph
Straus, “Uniformity, Balance, and Smoothness in Atonal Voice Leading,” Music Theory
Spectrum 25, no. 2 (Fall 2003): 305–52.
71
and 3.17 (pc reduction) violin IV and oboe I commence their lines on pitches Ab and A
Figure 3.17. Pc reduction: Violins II and IV and Ob. I (introduction, phrase 3: mm.
6–7)
-1 (+1)
t 9
Vl.IV 8 7 T1 2 4 5 6
m.6 m.7
72
These pcs, when taken in combination with pc 6, oboe II’s sustained opening pc (heard
simultaneously), produce Mtv3, set-class 3-2. Violin II only performs two pitches in this
section, Bb and A (pcs t and 9), therefore it plays a lesser role in this passage and acts
Horizontally, the secondary lines mimic the movement and organization of oboe
II. In m.6, both violin II and IV, and oboe I present material originating from Mtv1. As
shown in figure 3.17, the lines can be dissected into pairs of ic 1 each related by T1 in a
similar manner that the lower strand of the piano was organized in phrase 1. Although the
motive is not complete (an addition of ic 1 in the opposing direction is omitted) the
interaction with the principal line and the oscillating motion are suggestive of this motive.
Measure 7 highlights two forms of Mtv3 in both inverted and retrograde inverted forms,
the nested motive found throughout the introduction. The secondary role of these
instruments, oboe I and violin II and IV, acts as a support system for the recapitulatory
subsequent variations, this variation remains relatively true to both the order of
delineations of the introduction, variation I can be divided into three distinct phrases:
mm. 8–10, 11–12, and 13–16 respectively (score excerpt, figure 3.18, m. 8, figure 3.19a).
73
by repetitions with small variances. The variances do not introduce new pcs therefore I
discuss the pattern as a single one-measure unit. As shown in figure 3.19b, horizontally
the voices can be divided into pairs related by T1: Ob.1 and Vl.III, and Vl.II and Vl.IV.
Although oboe I and violin III do not share identical intervallic patterns, the
simultaneities that occur between the voices maintain the distance of ic 1. As shown in
figure 3.19b, the single-measure unit is strongly profiled by Mtv1 with violin III solely
employing this motive in an oscillating fashion (reminiscent of m. 6, oboe II, phrase 3).
Its route is similar to phrase 1, first presented in prime form, followed by an inverted
transformation. The remaining two violins (II and IV) present an overlapping
combination of Mtv3 and Mtv1 and oboe I presents a single version of Mtv3 in inverted
(please refer to figure 3.19c). Pitches D, Bbb, Eb, and Bb (pcs 2, 9, 3, and t) generate two
distinct ic 5s related by T1 thus producing four versions of Mtv2, two pairs of 3-4 and 3-5
respectively. Due to oboe I presenting a divergent path from its corresponding pair, violin
III, a complete Mtv2 does not conclude this initial delineation of variation I (as depicted
on figure 3.19c); however, the resulting pcs hold a remarkable significance. The final
though oboe I does not continue with its pattern (it stops abruptly in m.9), its expected
pitch, G (pc 7) is now performed by the piano in octaves (please refer to figure 3.18,
m.10).
75
Ob. I Ob. I
Ob. II Ob. II
Vl. II Vl. II
Vl.IV Vl. IV
(3.19b) (3.19c)
Horizontal Vertical
Ob.I t 9 7 t–––––––––––7
Mtv3:I
ic5
Mtv1:I
Vl.II ‘ T1 ’ 3 5 6 5 3–––––––––– 5
Mtv3:RI
T1
Mtv1:I
Vl.III 9 8 9 8 T1 9––––––––––8
Mtv1:P
ic5
Mtv1:I
Vl.IV 2 4 5 4 2––––––––––4
Mtv3:RI
Mtv2s Mtv3s
76
Of particular significance are pitches F and G (pcs 5 and 7). These pcs were
placed at a significant juncture in the introduction: the final octave dyad performed by the
piano in phrase 2 of the introduction. Similar to its previous appearance, the dyad
comprised of pcs 5 and 7 combines with pc 8 to produce a Mtv3, set-class 3-2. At the
present juncture, Ustvolskaya now expands upon this relationship and places additional
pcs to produce another form of Mtv3, now employing pcs 5 and 7 as the pivoting balance
Pcs Ics
8
7 1
2
5
1
4
This final Mtv3 complex directly leads into the phrase 2 of variation I, mm. 11–
12. Now acting as the principal participants are all four violins, each depicting intervallic
components of Mtv2. As evident on the score excerpt (figure 3.18), the entries are
staggered and the organization of instrumental pairings related by T1, established at the
onset of variation I is maintained, although in new combinations: violin I with violin II,
introduction, referencing two primary versions of Mtv2 from the referential passage. The
contrast to the descending model of the introduction, Gs down to Ds (pcs 8 to 3), in mm.
4–5 (please refer to the score excerpt provided in figure 3.18). The reversal in direction
77
results in Mtv2:P, (8,2,3), <+/-6, +1>. In relation to the original prime-form presentation
of Mtv2 across mm. 3–4 in the introduction, the present Mtv2: is related by T-5 in terms
of pitch content, changing the structural boundaries of the gesture from pcs 1 and 8 to pcs
the introduction in reference to the over-arching relationships in both the piano and oboe
passages.
second violin. The second violin’s statement of Mtv2 is missing its initial pcs due to its
staggered entrance; therefore, Mtv2 is not actually present but rather inferred here. If the
expected pc, pc 9, had been present (A is the missing T1 pairing to the first violin’s initial
pc of Ab) then a complete Mtv2 prime would be outlined, again in ascending form:
(9, 3, 4): <+/-6,+1>. Violins III and IV present a further condensed version of the
introduction’s phrase 2, occupying only the final three beats of m.12. Both instruments
are presenting an ic 6, one of the defining ics from the prime form of Mtv2 (please refer
to figure 3.18).
Viewing the violin strands from a vertical perspective reveals similar motivic
relationships. By isolating the initial and concluding pitch of each strand within this two-
measure segment (mm. 11–12), Mtv2 reveals itself to be the structural motive. As shown
in figure 3.21a, the accumulated pcs from the entrances of each violin are organized
similarly to the piano strands operating in phrase 2 of the introduction, mm. 4–6
(previously illustrated in figure 3.15). Ustvolskaya has retained the structural core of ic 5
and similarly placed ic 1s around this foundational base. Although the pcs in the violins
are not identical to the pcs in the piano strands in the introduction, the movement between
78
the initial and the final pcs mimics the motion presented by verticalities 1 and 5 of the
piano strands.
Figure 3.21a. Pc reduction: Initial and concluding pcs (movement I, variation I, mm.
11–12)
Initial pcs Concluding pcs
Vl. I 8 3
ic.1
Vl. II 0 1- 8 -3 4
transposition of *T-5. The pcs that do not conform to this movement are shown in figure
3.21b with a dotted arrow: pcs 2 and 4. If this were to be a true T-5, the expected pitch
would be A (pc 9). This is the same pc that was omitted from the horizontal organization,
due to the liquidating process on the staggered entrance of the violin II.
Vl.I 8 3
Vl.II 0 4
Vl.III 2 8
Vl.IV 1 7
*T-5
Pcs: 2 9 4
T-5
79
Ustvolskaya omits this pc and instead applies two consecutive T-5 upon pc 2 (as
of the introduction (please refer to the score excerpt provided in figure 3.18). Significant
is the descending chromatic line performed by violin I, framed by the pitches Ab and Eb
(pcs 8 and 3). These are identical to the pcs that framed the ic 5- ascent in mm.11–12 and
downbeat of m.16. 7 The Eb (pc 3), performed by violin I, now acts as the initial pc of
variation II. Isolating the first three measures reveals an affinity for the material
associated with phrase 1 of the introduction. Horizontally, each strand traverses its own
distinct path (please refer to figure 3.22a).Whereas in the previous variation there are
consistent pairings of voices related by T1, Ustvolskaya now gives each of the violins its
own distinct voice for phrase 1 of this variation (although ic 1 relations are intermittently
established). As shown in figure 3.22b, each of the motives is present in some guise
Violin I presents material closely linked with phrase 1 of the introduction, albeit
in condensed form. The violin moves in a similar fashion to that of oboe I of the
introduction, but now with the omission of the nested Mtv3s: Mtv1:P followed by an
7
The nebulous boundary between variations is a consistent trait of Ustvolskaya’s
technique of variation, and relieves some of the expectations and redundancies of this
type of formal design. Elisions at formal boundaries are also a common trait in Webern’s
variations.
80
elided Mtv1:I, and concludes with an elided Mtv3:I (as shown in figure 3.22b).
Vl.I
Vl.II
Vl.III
Vl.IV
Mtv1:P Mtv3:I
Vl.I 3 2 3 2 0
Mtv3 Mtv1:I
(0,2,3) <+2>
Vl.II 0 2
Mtv2:CON(R(r2))
Vl.III 1 9 8
Vl.IV t 9 8 7
<-1>’s
(9,8,9)
Mtv1 (8,7,8)
Mtv1
8
Violin III has been placed up an octave in this score reduction.
81
presenting a <+2>; however it does not complete the path on its own. As illustrated in
and 2 of violin II, the suggested Mtv3 is actualized. A similar relationship occurs with the
chromatic descent featured in violin IV. At first glance, this strand appears to be a string
consideration with the material presented in violin III, the motive is again actualized.
Two prime versions of Mtv1, <-1, +1>, emerge from the chromatic descent.
Violin III also presents another viable path when viewed in isolation from the
other instruments. Performing pitches Db, Bbb, and Ab (pcs 1, 9, and 8) produces the DI
3.22c). A similar transformation was present in the introduction in regards to the over-
arching relationships that spanned across individual and consecutive phrases (please refer
to figures 3.10 and 3.11). Maintaining the approach of reduction or condensation for this
passage, Ustvolskaya now presents a transformation of a motive that first occurred across
introduction closely, variation II strays from this design. The following material
from phrase 2 of the introduction. Measures 19–20 do fulfill the expectation; however,
82
phrase 1 returns. Unifying both the pseudo phrase 2 and the return of phrase 1 is an
underlying ostinato-like pattern in the final instrument to be heard, the timpani (to be
discussed).
throughout this dual-functioning phrase. Both oboes in mm. 19–20, present a direct quote
from phrase 2 (please refer to figure 3.23a). Oboe I presents an exact statement of mm. 4–
5 taken from the introduction, while oboe II counters this gesture, now commencing on
introduction, Mtv3s fill in the Mtv2 gesture (please refer to the original analysis of these
Figure 3.23a. Score excerpt: Oboes I and II (movement I, variation II, mm. 19–20)
<-5, -1>
The timpani’s ostinato pattern (isolated in figure 3.23b), derives its pattern
directly from the oboe gestures presented concurrently in mm. 19–20. Characteristic of
Ustvolskaya, the ostinato pattern lacks metric stability through its changing time
signatures and sporadic insertions of rests. The melodic organization of the pattern further
contributes to the instability as the beginning and ending of the pattern remains unclear. I
hear the pattern framed by the ic 2 dyads produced by pitches F and Eb (pcs 5 and 3). As
83
shown in figure 3.23b, the pattern is not always a discrete replica causing overlaps to
occur between repetitions of the base statement. Contained in the pattern are the pitches
F, Eb, A, and E (pcs 5,3,9, and 4). As depicted in figure 3.23c, Mtv2 serves as the
foundation for the pattern due to the central placement of ic 5, but is not the only motive
present.
Figure 3.23b. Score excerpt: Timpani ostinato (movement I, variation II, mm.19–24)
5 3 9 4 5 3
ic5
Mtv2s
Found at the core of the pattern is an ic 5 formed by the pcs 9 and 4. Pcs 5 and 3 are
related to pc 4 by ic 1 thus providing the ics necessary to suggest two forms of Mtv2;
however, by framing the pattern with 5/3 dyads another motive surfaces. As shown in
figure 3.23c, two versions of Mtv1 can be isolated in the pattern: Mtv1:P <-1, +1> and
Mtv1:I <+1, -1>. Alone, the isolation of these pcs may appear to be arbitrary; however,
when the other participating instruments are taken into consideration, the significance of
Similar to the derivative relationship of the ostinato pattern from the oboe’s Mtv2
descents in mm. 19–20, a similar relationship occurs in mm. 21–24 in the upper violins
and oboe pairs. The Mtv1s isolated in the ostinato pattern, pcs 5–4–5 and 3–4–3
respectively, now serve as the primary gestures in the oboe lines. As shown on figure
3.23d, the instruments are moving intervallically uniformly with one another throughout
this phrase (with the exception of the initial three pcs of violin II). The horizontal path is
a direct replica of the first oboe’s route in phrase 1 of the introduction (please refer to
figure 3.5): Mtv1:P followed by a Mtv1:I filled in by Mtv3s related by RI to each other.
Figure 3.23d. Pc reduction of oboes and upper strings (movement I, variation II,
mm. 21–24)
RI
Mtv3 Mtv3
Ob.1 4 3 4 6 7 6 7
T1
Ob.II 5 4 5 7 8 7 8 T5
Vertical
Mtv2s
Vl.I 9 8 9 e 0 e 0
T1
Vl.II 8 6 8 t e t e
Non–uniform movement
85
the introduction while concurrently placing phrase 2 as the structural basis of the vertical
dimension.
associated with phrase 3 of the introduction, albeit in a much more expansive form.
Whereas phrase 3 of the introduction served to recapitulate the motives and gestures from
the initial two phrases in a more demure manner, phrase 3 of variation II exudes a much
more emphatic spirit in virtually every participating instrument, these being oboes I and
Figure 3.24a. Score reduction: Oboes and Strings (movement I, variation II, mm.
25–30)
Ob.I
Ob.II
Vl.III
Vl.IV
Horizontally, Ustvolskaya has isolated violin III as inhabiting the position of the
solo strand. As shown on the score reduction (provided in figure 3.24a), this instrument
performs a repeated dyad comprised of pcs 9 and e. As each of the other instruments are
86
rhythmic drive, the ‘solo’ purpose of this line is to serve as a pc foundation for the
section, again asserting pc 9 as the basis for each of the other lines.
The two upper oboes are presenting material directly derived from Mtv2. Acting
as the lead voice of the pairing, oboe I commences its descent on pitch E (pc 4), a T-5
relation to the derivational pitch A (pc 9). Oboe II commences its descent on the pitch Eb
(pc 3), a T-1 relation to its counterpart. Its descent is incomplete and therefore will have
more significance in the vertical domain (to be discussed later). Contained throughout
this phrase are multiple forms of Mtv2, including overarching instances of Mtv2:R(r2)
and Mtv2:I(r2).
Below the oboes statements of Mtv2 and the violin solo dyad (each commencing
in m. 25) is an ostinato figure performed by violin IV (please refer to figure 3.24b). This
pattern is almost a direct replica of the previous ostinato pattern performed by the timpani
(illustrated in figures 3.23b/c), now transformed by T-1. As shown in figure 3.24b, the ic 5
4 2 8 3 4 29
ic5
Mtv2s
9
During the first occurrence of the prime form it is pc 3 that completes the gesture.
Ustvolskaya makes this slight adjustment to accommodate the ic 1 relationship occurring
between the second oboe and the fourth violin upon simultaneities. Once oboe II begins
to mimic the dyad solo of violin III, this relationship ends and the prime form continues
as expected.
87
The return of pc 8 participating as a foundational pc, in this case serving as one of the
pillars of the ic 5 core of Mtv2, is also a relationship observed in the first oboe’s line. The
increased presence of this pc is a reference to its previous significance and a hint to its
Analyzing these same measures (mm. 25–29) from the vertical perspective,
reveals an affinity for Mtv2. Vertically, pc 9 maintains its importance observed at the
onset of this variation. As shown in figure 3.24c, the structural pillar comprised of pitches
E and A (pcs 4 and 9) is present on the downbeat of each measure producing varying
fashion. As each verticality maintains the ic 5 9/4 pillar, it is the ic 1 relationship that
defines the movement. As shown in figure 3.24c, the ic-1 pairing is shifting between pcs
4 and 9 as an upper and lower addition. The initial two producing set-class 3-5 and the
Measure: 25 26 27 28 29
10
As shown in figure 3.24c with the second sonority in parenthesis, the first beats of mm.
25 and 26 present the same pcs, therefore I will refer to both of these measures as
presenting the first verticality.
88
Similar to previous variation border, the final measures of variation II share the
dual role of concluding the variation and leading into the next. Collectively, each of the
participating instruments of phrase 3, both oboes and violins III and IV, have their lines
subjected to liquidation. As shown on the reduced score, provided in figure 3.24a, the
ostinato figure contained in violin IV is completely absent in the final measure. The solo
extended to include C (pc 0). The addition of pc 0 now suggests a possible origin for the
repeated dyad, a Mtv3 subjected to RI, <+2, +1>. Also contained in this gesture is
Mtv1:I, <+1, -1 >, a gesture that will be repeated in the initial measures of variation III in
the piano part. Mtv1 is also present in the final measures of the oboe lines, mm. 29–30.
Oboe I presents an overlapping Mtv1:P with Mtv1:I,11 while oboe II presents a similar
Variation III lacks the decisive divisions of the interior phrases that were
designated in the introduction and maintained, for the most part, in the first two
variations. Compared to the previous variations, the length of variation III is significantly
shortened, spanning only eight measures (thus its length aligns most closely with the
introduction). Material for these measures is directly drawn from the previous variation,
although the character of the section is more of conflict, opposed to cohesion between the
instruments.
As shown on the score excerpt provided in figure 3.25, each instrument presents a unique
11
The same organization of this motive presented in phrase I of the introduction.
89
gesture in the first two measures (mm.31–32). In the following two measures, each
instrument is subjected to transposition, except for violin IV and the timpani, which
remain unaltered. The remaining six instruments experience the following transpositions:
T-1 for oboes I and II, T-2 for violins II and III, and T3 for the piano octaves. However,
after the initial four measures, only oboe I maintains the two-measure units. The
remaining instruments repeat material from previous measures and then lose their
Oboe I and II (oboe II only participates in the first four-measure segment) are related by
T-1. Each presenting only a single pc in mm. 31 and 33, pcs 7 and 8 in oboe I, and pcs 6
and 7 in oboe II, the pair horizontally present <+1>, thus suggesting a truncated Mtv1:I.
Their presence in the first four measures of this variation will be better understood when
viewed vertically with the other participating instruments (to be discussed). In m.35, oboe
introduction, oboe I presents the exact pcs from mm. 4–5; the first time presented
rhythmically augmented, the second replica utilizing the original rhythmic design.
Although the final pc of this referential gesture, D (pc 2), is present, the oboe line does
not conclude on this pc, but rather continues its descent to Cs (pc 1). Pc 1 is the opening
pc of the entire movement, and also is the other half of the ic 5 pillar of Mtv2:P from the
introduction. This final gesture presented by oboe I thus functions to reassert the
importance of pc 8.
The second pair of instruments horizontally related is violins II and III. Although
the pair is not presenting exact replicas of each other, their relationship is established
91
through their use of motives. Both are derived melodically from the previous variation,
employing material presented by the oboes in m. 30. Vertically, they are related by T-5 on
the strong beats of their patterns. Horizontally, they are both saturated by Mtv1; violin II
presenting a string of interlocking Mtv1:P’s and Mtv1:I’s, and violin III presenting a
more convoluted version of the same motive (please refer to figure 3.25).12
timpani. In the previous variation, it was these instruments that presented the two ostinato
patterns. Whereas previously the patterns were presented consecutively, in this variation
prime pattern for both ostinati is initially two measures in duration. After one complete
repetition, the pattern begins to break down, concluding on a single ic 5 gesture in both
Whereas in the initial presentation of both of these patterns (variation II), the
relationship of the patterns was one of transposition, Ustvolskaya has slightly altered the
respect to violin IV, the pattern is subjected to a slight reordering in combination with an
addition of a consecutive repetition of the pitch E (pc 4) (please refer to the score excerpt
in figure 3.25, mm.33–34). The timpani pattern undergoes a more audible alteration,
12
The piano octaves also employ the ic 1 dyad, first presenting pcs 0 and e and then
progressing to pcs 3 and 2. Unlike the other instrumental lines, the final five measures of
this variation outline a horizontal version of Mtv2, Mtv2:(I(r2)), <-1, -5 > with the
pitches Eb, D, and A (pcs 3,2,9).
92
Disregarding the repetition of pc 3, the pattern undergoes dyad reordering (the ostinato
pattern in violin IV undergoes a similar reordering). Along with the shift of the dyad
placements, the pcs within the two-pitch complex is also subjected to reordering.
Ustvolskaya now reverses the order of the pcs within the dyads resulting in the direction
being inverted. This creates an effect of opposition between the respective ostinato
patterns, as the simultaneous unravelling of these patterns throughout variation III is one
of inversion. The addition of a repetition of a single pitch, E (pc 4) in the timpani and Eb
Viewing this variation from a vertical perspective reveals not only the strong
presence of Mtv2 in this section, but also the definitive resurrection of pc 8 as the
principal pc. By isolating b.1 of each measure in the initial four-measure unit, the
revealed. As shown in figure 3.26b/c, the initial pc of each gesture can be combined to
separated into two, two-measure units; however, the individual units are not uniform in
13
Other versions of Mtv2 are present within these measures; however, I have isolated my
findings to only the first pc of each gesture.
93
their transpositional dispositions. This quality did not effect the motivation for the
horizontal domain, but this does have a significant effect on the vertical domain.
Ob.I
Ob.II
Vl.II
Vl.III
Vl.IV
Pf
Timp.
In the second two-measure unit, mm. 33–34, not only is the quantity of individual
Mtv2s reduced, but also the amount of discreet pcs. As shown in figure 3.26c, the initial
The rise in importance and participation of this pc was also observed in the horizontal
As expected, the final gestures of variation III lead directly into variation IV, the
final section of this movement. The concluding vertical complex in m.38 consists of the
pitches Cs, Gb, and Ab (pcs 1, 6, and 8). Each of these pcs have held significant positions
throughout the entire movement; therefore, it is suitable that these pcs are elevated at this
point through an increased durational value (please refer to m.38 in figure 3.27).
94
(Measure) 31 32 33 34
Ob.1 7 8
Ob.II 6 7
Vl.II 2 0
(oboe’s pc in m. 35)
Vl.III 9 7
14
Pno. 0 e 3 2
Ob.I 7
Ob.II 6
67 2 0 78
emphasis on
9 34 8 34 pc 8
0 67 8 23
e 67
14
I have included not only the first beat of the piano gesture, but also the sole remaining
pc in the measure because of the emphatic presentation of the gesture and the minimal
number of pitches involved.
95
The commencement of the final variation resurrects material from the first
variation, presenting material initially heard in mm. 8–10, now modified via a
transposition of T2 (please refer to the score provided in figure 3.27). The concluding
vertical complex of variation III, consisting of pcs 6,1,and 8 is transposed by T-1 at the
onset of variation IV with the resulting complex of F, C, and G (pcs 5,0, and 7) (with the
addition of dyads related to the ic5 pillars by T-1).15 Similar to the initial appearance of
introduction (as shown in figure 3.28a/b). Vertically, Mtv2s dominate the organization
with the presence of three ic 5’s occurring on the downbeat of the gesture.
A significant variance does occur on the final vertical complex of this phrase, in
the pattern employing ics associated with Mtv3 (please refer to figure 3.19c), placing pcs
and 7 are again present; however, their presence does not amount to a similar motivic
construction. As shown on figure 3.28b, the final vertical complex includes the pitches F,
G, A and Bb (pcs 5,7, 9, and t). Pcs 7,9, and t produce a similar form of Mtv3, however,
the remaining pitch F (pc 5) does not result in an extension of this motive. What does
emerge is a version of Mtv2 built on the pcs 5, t, and 9 (set-class 3-4). The significance of
this modification to the pattern aligns well with Ustvolskaya’s intentions at variation
15
I have aligned each of the separate entrances by the participating instruments, even
though, on the score the second oboe and piano entrances are delayed by two measures.
In m.41, each of the instruments is performing their gestures concurrently, therefore, this
is the measure I have chosen to isolate and depict in figure 3.28a/b.
97
motive is now comprised of the pitches F and Bb (pcs 5 and t). The motivic design at the
junctures.16
( 3.28a) ( 3.28b)
Horizontal Vertical
Mtv1:I
Pno
7 9 t 9 7––––––(9)
Mtv3:RI
ic 5
Ob.II 0 e 9 0–––––––9
Mtv3:I
Mtv1:I ic 5
Mtv1:I
T1 T1
Vl.II e t e t e ——–– t
Mtv1:P
ic 5s
Mtv1:I
Vl.III 4 6 7 6 4––––––– 5
manner to the previous three measures. She again references an exact pattern from a
16
Both pcs 5 and t are pcs of audible significance in the proceeding movement, and
participate in the motivic design and expansion throughout the opening passage.
98
previous passage in the movement, in this case m. 3 from the introduction (please refer to
figure 3.14). This passage was originally performed by the piano, divided into four
individual lines. The four lines are now performed by each of the strings, transposed by
T-1. As depicted in figure 3.28c, the vertical complexes are comprised of stacked ic 5s
coupled with ic 1s. As the horizontal paths are discrete among the four lines (with the
exception of violins II and IV, which are related by T-1), the verticalities that emerge are
discrete as well. As discussed in the analysis of the initial presentation of this material,
of the material, a comparable near-transposition of *T-5 emerges between the two chords.
Again, it is the pcs that do not support an exact transposition that reveal themselves to be
pcs of significance. As shown on figure 3.28c, the pcs that do not conform to this
movement are the pitches B and E (pcs e and 4, as shown by the dotted arrow). This ic 5
Verticality: 1 5
8 2
e 3
Pcs:
7 7
0 4
*T-5
The final four measures of the movement exhibit similar intentions. Although the
material is not an exact replica of an earlier passage, the purpose creating a linkage with
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the proceeding movements is still achieved. The final moments of the movement are
subjected to the transformation of liquidation. The primary motive, Mtv2 is again at the
forefront of the phrase, with Mtv1s and Mtv3s horizontally inferred. The final gesture is
performed by both oboes, timpani and two strands in the piano part respectively, with
As depicted in figure 3.28d, the horizontal and vertical dimensions are similar in
their pc design. Each horizontal dyad is likewise found in the vertical dimension on either
the first or second beat of the gesture; for example, the dyad 4/3 performed by oboe I, is
vertically found shared by oboes I and II on the second beat of the gesture. Whereas in
previous sections the vertical and horizontal domains have remained relatively discreet in
their designs, Ustvolskaya has, in final measures of the movement, demonstrated the
duality of their roles ironically through the employment of pc unification. For example,
the Fb/Eb (pcs 4/3) dyad performed by oboe I functions horizontally to suggest or infer a
segment of Mtv1.17 When presented vertically on the second beat, now shared between
the oboe pair, this same dyad E/Eb (pcs 4/3) is participating in the formation of a Mtv2.
The characteristic of functional duality continues in the final gesture of the first
movement. As shown on figure 3.28d, each of the principal motives has been inferred in
the horizontal design. Because of this, the vertical domain contains variances in its
motivic construction between the first and second half of the gesture. The “odd–one–out”
17
In fact, since the gesture is repeated, the (4,3) dyad does return to pc 4; therefore, a
Mtv1 is actually achieved. However, due to the metric placement of the gesture and the
insertion of a measure of rest, I believe that this dyad should be perceived by the listener
and analyst as a reduction of the motive, opposed to a complete motive.
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Mtv1
Ob.I 4 3 4 3
Mtv1
Ob. II 5 4 5 4
Mtv2 Mtv2
Mtv2
Timp. 2 7 2 7
Mtv1
ic1
9 8 9 Mtv2 8
Piano Mtv3
8 6 8 6
Of particular significance in the final phrase are the three ic 5 pillars that surface in the
vertical domain. These include the dyads E/A and D/A (pcs 4/9 and 2/9) on the first half
of the gesture, and Eb/Ab (pcs 3/8) on the second half. Two of these ic pillars have held
significant positions throughout the first movement, these being 4/9 and 3/8. These were
the dyads that served as ic 5 foundations throughout the segregated sections and then
were utilized in opposition with one another in the ostinato patterns prevalent in variation
II. Ustvolskaya has now resurrected both for the final moments of the movement. The
third dyad, 2/9 will form the ic 5 foundation for the transformed Mtv2 that will serve as
Again, it is the variances between structures that hold significance and drive the
structural organization forward. This dyad could simply be viewed locally as an extension
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to the final Mtv2 dyad, with the incorporation of additional stacked ic 1s upon the ic 5
presented in this final variation, the variance found in this final gesture is again providing
version of Mtv2, DI <+5, +/-6>, thus Mtv2:r1. The last pc of this Mtv2 transformation is
articulation. As illustrated in the score excerpt of the second movement (figure 3.30), the
pc that holds the final position in this gesture ( <+5, +/-6 >) is pitch Ab (pc 8) and then
later altered to Gb( pc 6) in m.9 when the gesture is further transformed. Vertically, the
dyad simultaneities performed at these points, between the right and left hand piano
passages, produce ic 1 pairings; at the onset, pcs 8 and 7 and then later transformed to pcs
6 and 7. These are the same pcs that produce the tail addition of the Mtv2 at the
E
ic1
Eff
ic5
Abb
ic1
G **ic 1 cluster (tail)
ic1
Gb
Ustvolskaya thus employs the final variation of the first movement, mm. 39–46,
to link the “old” with the “new”. By employing previous material presented at the onset
of the first movement, Ustvolskaya not only creates an analytically balanced structure,
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but also is able to subtly introduce and link material through variances that will be
The process of repetition prevails as the organizing agent for the remaining four
movements. Almost functioning as an introduction itself to a large scale variation set, the
first movement provides the material that will be exposed to motivic permutations in the
following movements. The circular intent that orchestrated the design of the first
remainder of the composition will reveal the strength of the motivic network that
Ustvolskaya manipulates throughout this multi-movement work. The second half of this
chapter will discuss the organization and association of the remaining four movements in
In the following analyses of the remaining four movements I will demonstrate the
movements. As the transformational paths are not as intricate as those in the initial
these latter movements that are noteworthy within the movement or the entirety of the
Octet.
Movement II (1–154)
movement II is established at the onset and maintained throughout. Due to its faster
tempo, the augmented length (almost three times the quantity of measures) is
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imperceptible to the listener, and thus does not usurp the significance of the first
movement. In opposition to movement I, the process of repetition lies much closer to the
surface of the form. Partitioned into ten distinct units, the variations are audible to the
listener, and for the most part, maintain a uniform length of fourteen to sixteen measures
throughout (as shown in figure 3.29). Each of the variations is followed by a brief
transitional passage, amounting to two measures for variations I to III and a single
measure for the remaining variations. The transitions merely extend the motivic material
Section Measures
Introduction 1–14
Variation I 15–30
Variation II 31–46
Variation III 47–62
Variation IV 63–77
Variation V 78–92
Variation VI 93–107
Variation VII 108–122
Variation VIII 123–138
Variation IX 139–154
independent piano strands18 (please refer to the score provided in figure 3.30). Each
strand is horizontally derived from one of the principal motives presented in movement I,
Mtv1:P <-1, +1> and Mtv2:P <+/-6, +1> (as illustrated previously in figure 3.4). Pcs that
18
For the remainder of this movement, the upper strand, performed by the right hand,
will be referred to as strand 1, and the lower strand, performed by the left hand, as strand
2.
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attained greater importance throughout the initial movement, pcs 7, 8, and 9, are again
Mtv2:P serves as the foundation for strand 1 of the introduction. The original pcs that
(presented in phrase 2), pitches G, Gs, and Cs (pcs 7, 8, and 1), are related to the present
opening gesture, pitches D, Ab, and A (pcs 2, 8, and 9) by a T1 relationship (please refer
to figure 3.31). Although the motive is presented in a transformed version, the principal
movement’s version of Mtv2:r1, <+5, +/-6>. In both cases, pc 8 inhabits the position at
Movement I Movement II
pc 8 pc 8
r1
<+/-6, +1> <+/-6, +1> <+5, +/-6>
Mtv2:P Mtv2:P Mtv2:r1
Mtv2:r1 remains as the primary gesture for the first six measures of the
introduction. The sole alteration occurs across m. 4 (please refer to the score provided in
figure 3.30) whereupon a tail extension is added, DI <+2, -2>, alluding to the Mtv1
motive transformed through expansion (this motive will propel strand 2 of the
introduction). At the midway juncture, mm. 7–8, Ustvolskaya interrupts the Mtv2
presentations with a passage derived from the Mtv1 tail extension and inspired by the
first oboe’s phrase 3 of the first movement’s introduction (mm. 6–7). As shown in figures
3.32a/b, the clear similarities between the two passages are present in terms of pc content
The pcs present in the referential passage in movement I (figure 3.32a) are pcs
8,9, t, and e, while corresponding gesture in movement II (figure 3.32b) comprises almost
the identical pcs, omitting only pc 9 (this pc, however, is present in the second strand’s
gesture that is concurrently being presently in the left hand). As previously discussed in
the analysis of movement I, the extension is strongly profiled by the oscillating intervallic
components of Mtv1. As shown in figure 3.33, the tail extension in m. 4, which employed
the pitches Bb and Ab (pcs t and 8), is now presented in an expanded format, in terms of
comprised of two forms of Mtv1. The first is an exact replica, in terms of pitch-content
and interval components of the tail addition, DI <+2, -2>. This gesture then undergoes a
CON transformation, producing a <+1, -1>. Linking these two forms of Mtv1 are two
forms of Mtv3, first presented in RI form, <+2, +1>, followed by an exact reversal, <-1, -
2>. The tail expansion thus commences and concludes on the centric pc, pc 8.
Figure 3.33. Expansion of tail addition (movement II, introduction, mm. 7–8, piano)
CON
Mtv1:EXP
Mtv3:RI
The second half of the introduction, mm. 9–14, presents a balanced answer to the
opening six measures, as Ustvolskaya returns to the Mtv2 presentations, now further
the material presented here is based upon the second oboe’s final statement (please refer
to figure 3.9). The transformed presentation of Mtv2 that emerged as the over-arching
gesture of the concluding phrase, Mtv2:CON(RI(r1)), now inhabits the primary position
route linking the initial presentation of the Mtv2 in m.1 and the transformed version
Strand 1 then progresses in a similar manner to the initial six-measure opening of the
current movement, including the extended tail gesture (please refer to the score excerpt,
figure 3.30, mm. 11–12). The final two measures of this passage present a condensed
version of the primary gestures and pcs that comprised this introduction (as illustrated in
figure 3.35).
<+2>
<+5, +4>
Both versions of Mtv2, <+5, +/-6> and <+5, +4> are presented in mm. 13–14, in an
overlapping fashion. The Mtv1 tail extensions, previously employed as additions to the
Mtv2 gestures, are also alluded to here, albeit in a fragmented form. The recapitulatory
nature of the final measures of this introduction is yet again reminiscent of the final
measures of the introduction from movement I, as the concluding passage references and
In comparison to strand 1, both the formal and motivic design of strand 2, the left
hand piano passage, is decisively less complex. Unlike its counterpart, it remains
relatively uniform throughout the entire introduction (please refer to the score excerpt
provided in figure 3.30). Comprised of pitches F, G, and A (pcs 5, 7, and 9), its ic 2
discussed later on). The pcs and intervallic motion have two separate but related points of
derivation from the initial movement. A more subtle, background reference will be the
5/7 ic 2 dyad that is found in mm 4–5 in the first movement’s introduction (previously
depicted in figure 3.14). This dyad is recognized as holding formal and motivic
discussed in more detail in the analyses of the eighth and ninth variations. A second,
perhaps more obvious reference can be found in the preliminary measures of the piano
segments of the first three verticalities in movement I, what was presented as two vertical
to pc 8, the dominating pc of the upper strand. Upon repetition, the prime pattern of
strand 2 is subjected to a similar process of destruction that the ostinati patterns incurred
alterations of time signatures, and random segmentations and overlappings of the pattern,
the gesture lacks stability (please refer to the score excerpt provided in figure 3.30). The
nature of strand 2 is a striking contrast to the clear and decisive character of the
<+2>
Mtv1:RI(EXP)
<+2, -2>
Deviation from the whole-tone organization occurs two times in the fourteen-
measure introduction, both of which are situated at formally significant junctures. The
strand 1. In m.8, the ic 2 movement is interrupted by the addition of pitches B and C (pcs
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e and 0). As shown in figure 3.36a, these are the pcs that comprise the third verticality of
the first movement’s introduction. The second instance occurs in the final measure,
When viewing the strands as a vertical unit, their interactions reveal that ic 1
relations drives this dimension. The prominent coupling of pcs 7 and 8 from the first
prominent in verticalities in not only the introduction but the entire form of movement I,
variations to come.
Variation I is performed solely by the violin quartet (please refer to the score
provided in figure 3.37). Violins I and II present the material previously performed by the
piano strands in the introduction, with few alterations. Violin II, presenting strand 2 from
the introduction, maintains the characteristic of instability. The alterations to this strand,
m. 19) further add to the volatility that this strand possesses. Violins III and IV present
additional material that will add to the complexity of the two-strand skeleton.
common in the initial movement. In variation I, violins I and III, and II and IV are
motivically linked, and in turn, interact with one another. I will discuss them in their pairs
six measures of the violin III passage is strongly profiled by Mtv1, and in fact presents
the identical pcs, 3 and 4, that were performed by oboe I in phrase 1 of the first
movement’s introduction (please refer to figure 3.5). The intervallic movement of violin
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III produces an inverted form of Mtv1, <+1, -1>. After the tail-expansion interruption in
mm. 20–22, the motive is inverted, now becoming <-1, +1> and thus returns the motive
Figure 3.38. Pc reduction: Isolation of Mtv1 tail gestures (movement II, variation I,
mm. 15–26)[performed by violins I and III]
Vl.I (pcs) 8 t 8 e 6 8 6
Ics 5 6 5 5 5 6 5
Viewing the third violin’s passage in relation to its paired instrument, violin I,
reveals a different interpretation for its horizontal path. As illustrated in figure 3.38, the
third violin’s presentations of Mtv1 interact with the tail extensions that are applied to the
transformed Mtv2s in violin I. The third violin’s presentations of Mtv1 complements the
expanded versions of this same motive, <+2, -2>, presented in the tail extensions.
Vertically, the pair of instruments alternate between colliding ics 5s and 6s, ics that are
strongly linked to the prime version of Mtv2. Thus while the tail additions horizontally
are presenting versions of Mtv1, vertically, the tails are serving to extend the presence of
Mtv2.
19
I highlight only pcs e and 4 in the tail expansion in figure 3.38, as the remaining pcs are
identical to the previous measures (mm. 15-20).
20
Pc 1 is not present on the score, although it can be inferred based upon the presence of
this pc in m. 27 (Vl. III), which suggests that the Mtv1 presentation is commencing again
but then is abandoned.
113
The domination of Mtv2 as the organizing motivic foundation for this variation is
more pronounced when the remaining two instruments are taken into consideration. As
previously stated, violins II and IV are similarly paired. Presenting strand 2 of the
introduction, the instrumental pair performs nearly identical material to one another.
Violin II presents the original strand, while violin IV counters with a T-5 version (please
refer to the score provided in figure 3.37). As a collective, when the strand 2 pair
vertically coincide with the tail additions of the strand 1 pair (previously isolated in figure
3.38) they present stacked ic 5s related by T1 (or an ic 5 paired with an ic 6 when the
strand 1 pair present their non-uniform movement, <+2> vs. <+1>), in all but three cases.
17 18
Vl.I
Vl.II
Vl.III
Vl.IV
Vl.I 8 t 8
Vl. II 7 9 7 5 7 pc reduction
Vl. III 3 4 3
Vl. IV 2 4 2 0 2
As illustrated in figure 3.39, at these moments, found in mm. 18 and 20, the expected T1
pair is provided either before or after the tail presentations. The movement across mm.
As previously stated, the delayed stacked ic 5s are a rare occurrence, and they land
simultaneously for the majority of the verticalities, thus asserting the prominence of the
Through the gradual addition of instrumental participation and the subtle increase in
interaction between the individual layers, the intensity of the work tightens and expands
simultaneously. Variation II emerges seamlessly from the weaving layers of the violin
quartet. In combination with the strings, the sole participants of variation I, the density
now increases with the addition of a new instrumental pairing: oboe I and piano.
Figure 3.40. Motivic allocation for variation II (movement II, mm. 31–46)
As depicted on the chart in figure 3.40, both strands 1 and 2 are represented by at least
one instrument. Significant in this variation is the strong presence of the tail extension
built upon Mtv1. As depicted in figure 3.40, the majority of the violins perform material
21
I included the two-measure transitionary passage in phrase 2 as the sections dissolve
into one another.
115
based upon the tail extension of the opening phrase. As discussed in the analysis of
variation I, the tail has strong ties to both the motivic material of strands 1 and 2, and this
relationship is again present in both the horizontal and vertical domains of the present
variation.
Ob.I
Vl.I
Vl.II
Vl.III
Vl.IV
Piano
Violin I performs the principal tail extension comprised of pitches Eb and Fb (pcs
3 and 4), a Mtv1:I (please refer to the score excerpt provided in figure 3.41a). In phrase 2,
mm. 39–46, this gesture transforms into a Mtv1:P, now performed on pitches Ebb and Db
(pcs 2 and 1). During phrase 1, violins II and IV present a complimentary passage based
upon this oscillating motive. Violin II presents a gesture alternating between pitches B
and A (pcs e and 9), while its counterpart, violin IV, alternates between pitches F and E
(pcs 5 and 4) respectively. These three lines are therefore presenting three version of
Mtv1, a prime (violin IV), inverted (violin I), and an expanded form (violin II).
116
Vertically, the string trio (violins I, II, & IV) collides on pcs 5, e, and 3, and 4 and
9 respectively on beats one and four (as illustrated in figures 3.41b). The ics that emerge,
ics 4, 5, and 6 are intervallic components of the active forms of Mtv2 in this movement.
The inverted relationship of violins I and IV results in the creation of an outward wedge,
producing a unison on the second part of the rotation (b.4) on pcs 4 and 9 (please refer to
figure 3.41b).
Figure 3.41b. Pc reduction (m.30): Vls I, II, and IV (oscillating Mtv1 tail gestures)
4
Vl.I pc: 3 T1
ic: 4 5
Vl.II pc: e 9
ic: 6 5
Vl.IV pc: 5 T–1
4
(b.1) (b.4)
added
pc 3
significant structural pillars in the variations of movement I (in particularly variation II).
In the tail expansion passage, mm. 37–38 of variation II (figure 3.41c), pc 3 is added to
the pc pair of 4/9. This creates a verticality comprised of ics 5 and 1, the principal
horizontal domain of this variation, now related by T5 (pcs <928> and <493>).
aligned and thus interact more cohesively in this passage. This creates a very clean and
prominently in this variation. Performed by the four violins, the statements of strand 1 are
parsed into two pairs related by T5, with violins I and III presenting the original, non-
transposed version in combination with violins II and IV, presenting transposed versions.
The transposed version, comprised of pitches E, A, and Eb (pcs 4, 9, and 3) is the Mtv2
verticality that participated in the tail simultaneities in the previous variation. What was a
Figure 3.42. Motivic allocation for variation III (movement II, mm. 47–62)
Figure 3.43. Oboes I and II: Strand 2 (movement II, variation III, mm. 47–48)
present the base-pattern, provided in figure 3.43). Similar to the ostinato pattern
presentation of this strand in oboe I. As illustrated in figure 3.44, the oscillating motion
Figure 3.44. Strand 2 reorganized (oboe I, movement II, variation III, mm 47–48)
[bolded type indicates central pc]
-2 +2 +2 -2 -2 +2 Directed–ics
Original 7 5 7 9 7 5 7
Reordered 7 9 e 9 e 9 e
+2 +2 -2 +2 -2 +2 Directed–ics
The order of the pcs has been manipulated. This adjustment alters the pc that acts as the
anchor for the pattern from G (pc 7) to A (pc 9). Oboe II performs a similarly modified
strand 2, but due to its emphasis on E (pc 4) the whole-tone motion is disturbed, thereby
introducing a <1> into the pattern. This modification coincides with both the emergence
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of this ic 5 between pcs 4 and 9 in the previous variation, and the principal position of
design is illustrated in figure 3.45). Opposed to previous sections, each of the six
A similar organization is observed in the piano statement of strand 2: the right hand
performs an unaltered version coupled with a T5 version in the left hand. Again,
metrically the two versions are aligned. Whereas previous variations have focused upon
adding layers and coupling transposed versions of the two individual strands, this
previous variations, has now been removed from the strand. The initiating pc of strand 1,
pc 9 (A), is absent in each of the Mtv2 presentations throughout the entire fourth
where pc 9 acted as an elusive participant in variation I and then rose to the forefront of
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the motivic design in the following section. In movement II, G (pc 8) again held the
central position as it was placed at the peak of the Mtv2 formation. Pc 9, coupled with its
early variations and then was subsequently removed from the motivic complex in
variation IV.
uniform between the two sections with the sole alteration being the omission of the oboe
pair. In contrast to the unison collectives that created an extremely cohesive motivic
presentation in variation IV, the fifth variation’s use of transpositions gives a sense of
increased density due to its varied pitch content. The violin quartet maintains their
possession of strand 1 with three of the four strings being subjected to transposition (the
In terms of pitch-content, violin I performs the original version, while the remaining three
violins provide metrically aligned T1, T5, and T-4 additions. As the initial pcs of each of
the gestures remains absent, the strand is reduced to its ascending tritone component. The
peak of the tritone is emphasized due to its repetition and articulation. The colliding ic 6
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is comprised of pcs 8, 9, 3, and 4. These produce two ic 5 pillars, related by T1, that have
and will hold significance throughout the entire octet: 4/9 and 3/8.
Variation VI is centred upon the triumphant return of pc 9 (A) (score provided in figure
violin quartet throughout the entire variation (mm. 93–107) thus dominating the motivic
organization. The four fragmented versions of strand 1 remain in this variation, now
shared between the oboes and two piano strands. The strength of the drone dissolves into
the four statements of strand 1, asserting its presence into each of the gestures.
As illustrated on the score and depicted in figure 3.49, the insertion of pc 9 into each of
the fragmented strand 1 gestures produces four distinct transformations of Mtv2. Two
transformations, a first rotation (r1) and a retrograde inversion (RI), act as the principal
transformations acting upon Mtv2. The remaining two transformations subjected upon
Figure 3.49. Mtv2 transformations with the addition of pc 9 (movement II, variation
VI, mm 93–98)
Mtv2 fragments DI Transformation
of Mtv2s
drone
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Strand 2 makes its emphatic return in variation VII. In place of the pc 9 drone, the
violin quartet is now responsible for reasserting this gesture (please refer to figure 3.50).
Partitioned into two pairs related by T5, violins I and III perform the original gesture
anchored upon G (pc 7), countered by violins II and IV centred upon D (pc 2). Both pairs
Figure 3.50. Motivic allocations for variation VII (movement II, mm. 108–123)
What is remarkable in this variation is the material unfolding in the timpani and
piano strands. Since its entrance in variation IV, the timpani has been performing cluster
punctuations built upon pitches Cs, D, Fs, and G ( pcs 1, 2, 6, and 7).22 Similar to the
piano’s organization, the timpani can also be viewed as presenting multiple individual
layers. The ic 1 ascents suggest two fragmented versions of the tail extension, fractured
into two individual dyads related by T5 (please refer to figure 3.51). In variations IV and
begins to falter and it becomes parsed into two ic 1 pairs comprised of pcs 7/6 and 1/2
initially, and then omits the pc 1/2 pair for the remainder of the section. In the present
variation the gestures dissolve further and form a single horizontal string comprised of
22
I did not included the timpani in the analytical discussions focused on variations IV, V,
and VI due to its background function in these passages. It is not until the current
variation, VII, that its presence can be completely understand in regards to the motivic
organization of the work.
124
pcs 7, 1, and 6. This produces the DI <+/-6, +5>, a Mtv2: RI(r1). The devolution of this
motive, a gradual reduction of its parts into its skeletal form, again demonstrates the tail’s
Figure 3.51. Timpani devolution (variations IV, V, VI, and VII, movement II)
7 7 7
6 6 6
T5 +/-6
2 2
+5
1 1 1
Unfolding in the piano part are two layers based upon strand 1 (the base-pattern,
which is continued throughout this variation, is provided figure 3.52). The isolated pc 9
that was the drone in the previous variation maintains its seclusion in the piano through
registral displacement with the remaining two upper pcs of each gesture.
Figure 3.52. Score excerpt: piano and timpani (movement II, variation VII, mm.
108–109)
As shown in figure 3.53, the original presentation of Mtv2 (pitch-wise) is paired with a
however, when both the timpani and piano gestures are viewed vertically, the
As illustrated in figure 3.53, the second and third pcs of each of the gestures in the
piano are related by ic 2. This ic is both a defining feature of the tail extensions that have
been added to the Mtv2s in strand 1 and also the horizontal movement of strand 2. By
incorporating the timpani’s line into the piano’s ic 2 vertical dyads, the dyad expands and
reveals an underlying organization of stacked ic 5’s (as shown in figure 3.54). The two
verticalities are related by T6 and, in terms of pitch-content, produce ic 5 pillars that have
held significant motivic positions throughout the first two movements. The intervallic
components of Mtv2:r1, ics 5 and 6, control both the horizontal and vertical relationships
Figure 3.53. Pc reduction: piano strands (movement II, variation VII, mm. 108–109)
Horizontal: +5 +/-6
(ic2) (ic2)
Mtv2r1:2(PCON) 9 0 6 lower strand
Horizontal: +3 +/-6
23
The 2 placed before the partial contraction transformation indicates that an identical
transformation (in this case a partial contraction) has occurred twice on the motive. This
results in a movement by 2 semitones by a single pc, opposed to the expected 1 semitone.
126
Figure 3.54. Piano and timpani verticalities (movement II, variation VII, m. 108)
T6
piano (upper) 2 8
ic 5 ic 5
timpani 7 1
ic 5 ic 5
piano (lower) 0 6
b. 2 b. 3
gestures from previous variations are now reasserted in the solo piano passage
commencing in variation VIII. Both variations VIII and IX have a similar structure and
significant material from the beginning of the movement and act as linkage to the
succeeding movement.
Figure 3.55. Score excerpt: Variation VIII (movement II, mm. 123–126, piano)
Figure 3.56. Variations VIII and IX motivic allocations and derivations (movement
II, mm. 123–139)
Isolated Gesture Formal Origins Motivic Variation Variation
in movement II Presentation VIII IX
Oboes
Variation I Tail Piano Vl.I &III
mm. 1–14, the oboe I solo from the movement I serves as the motivic foundation (in
particularly, phrases 2 and 3). As shown in figure 3.56, the piano solo horizontally
presents five layers, referencing six individual and distinct gestures from previous
sections (figure 3.55 provides mm. 123–126 of the score). Strands 1 and 2 are both
represented in their unaltered versions, in combination with four references to the tail
extension, <+1> and <+2> fragments, and a <-1, +1> oscillation. By highlighting these
gestures on these specific pcs, the motivic origins are solidified for this movement.
Each of the pcs in this solo piano passage is derived from mm. 4–5 of movement
I. The fragmented tails are direct references to the pcs that comprised the two forms of
128
Mtv3 (as depicted in figure 3.57). In their original presentation in movement I they
functioned to fill in the interior gaps produced by the Mtv2 presentation. Here, in the
conclusion of movement II, they also function to fill in the gaps but now between
Mtv2:r1, maintaining pc 8 at its peak and strand 2 resurrects the pc 5/7 dyad prolonged in
the piano. The sole pc that is absent from these referential measures, mm. 4–5, is pc 9.
Mtv3:R
This structurally significant pc for both movements is merely delayed a measure and is
presented in an oscillating string in the proceeding phrase, mm. 6–7. What was originally
The final variation, variation XI, acts as an extension to the piano solo. Almost all
of the six layers present in variation VIII are maintained, but due to the additional
participants are presented by different instruments (as depicted in the final column of the
chart provided in figure 3.56). The additional gesture, a <-2> built upon the pitches E and
D (pcs 4 and 2), does not have the same clear origins in movement II as have the other
gestures here. Although pc 4 has held significant motivic positions throughout the
movement, this <-2> gesture was not isolated similarly to the other gestures. It was in
129
variation III when pc 4 became prominent in the motivic complex, in combination with
its ic 5 pairing, pc 9.
The 4/2 pc dyad does, however, have strong ties to the referential measures in
movement I. As shown in figure 3.57, the ending of each of the pc 8 descents either
presents a 4/3 or 4/2 pc dyad. This opposition is maintained in this final variation, pitting
the oboes and violins I and III against violins II and IV. The significance of this
opposition has a familiar function, to link the old with the new. Movement II has strong
pc and motivic ties to phrases 2 and 3 of the first movement’s introduction. The final two
variations recapitulate and reaffirm this relationship. The violin quartet and oboe duo
pierce through the principal motivic content performed by the piano in the final variation.
The sextet assert the 4/3 and 4/2 opposition, gradually dissolving into a single sustained
verticality built upon pcs 3 and 2. This ic 1 pair will prove to be a prominent dyad and
will persist throughout the entire third movement. In contrast to the initial two
movements, this movement lacks the intricate motivic development, and exhibits
transitional function. It does, however, maintain the repetitive structure and derivational
seven consecutive times with a four-bar extension added to the final utterance.
24
The formal design is provided in figure 3.61.
130
Motivically, its origins are unmistakable; however, the modifications significantly alter
the motivations for this movement. Variation I from movement I is employed as the
foundation for this introduction. As shown in figures 3.58a/b, the intervallic components,
character, and weaving texture are uniform between the two sections, both presenting
four active horizontal lines (the sustained pcs in the piano will be addressed later on).
Ob.I
Vl.II
Vl.III
Vl.IV
Vl.I
Vl.III
Vl.IV
Piano
Although the pcs and intervallic progressions are not uniform between the two passages,
there are motivically corresponding pairs between the two (as depicted in figure. 3.59).
Figure 3.59. Corresponding DIs: Movement I (mm. 8–10) and III (mm. 1–4)
corresponding passages. Only violin IV does not share this relationship, and is instead
principal active motive. In the altered version of these measures, Mtv3 usurps this role.
This motive has served as a secondary motive in the previous movements, usually
noteworthy that this normally subordinate, transient motive would rise in prominence and
causes this motive to rise in formal significance is a direct result of the ic 1, D/Eb (pc 2/3)
The 2/3 dyad is the link Ustvolskaya employs to aid the transition between
movements II and III. This dyad is now sustained for the duration of the entire movement
III. Coupled with this sustained pc pair in the piano is a linear gesture isolated and
Figure 3.60. Piano Mtv3 gesture (movement III, introduction, mm. 1–2)
As shown in figure 3.60, the organization of the piano pattern presents a uniform
horizontal and vertical domain. Both contain a gesture comprised of pitches C, D, and Eb
(pcs 0, 2, and 3). Isolated as the only voice to be performed with the dynamic marking
forte, the emphasized gesture acts as the prevailing organizational motive for the
movement. As shown in figure 3.61, all of the linear gestures formulated in this
variation, figure 3.61 demonstrates the derivational relationships of the remaining six
Pcs DIs Transformations Intro. Var. I Var. II Var. III Var. IV Var. V Var. VI Var. VII
mm. 1–5 mm. 6–10 mm. 11–15 mm. 16 –20 mm. 21-25 mm. 26– mm. 31– mm. 36–
30 35 44
<023> <+2, +1> Mtv3:RI Piano Piano Piano Piano Timpani Timpani Timpani Timpani
<542> <-1, -2> Mtv3RI:R Vl. I Vl. I Vl. I Vl. I
<9t9> <+1, -1> Mtv3RI:PCON(CI) Vl. III Vl. III Vl. III Vl. III Ob. II & Ob. II & Vl. III Ob. I, II,
piano piano & Vl. III
<135> <+2, +2> Mtv3RI:PE Vl. IV Vl. IV Vl. IV Vl. IV Vl. IV Vl. IV Vl. IV Vl. IV
<10e> <-1, -1> Mtv3RI:PCON(I) Vl. II Vl. II Vl. II Vl. II Vl. II Vl. II
<989> < -1, +1> Mtv3RI:PCON(PCI) Ob I & II
<654> <-1, -1> Mtv3RI:PCON(I) Ob. I Ob. I Vl. I Vl. I
Figure 3.61. Motivic allocations and derivations (movement III)
134
a derivative of Mtv3, subjected to an RI transformation. The first column lists the pcs
relationship to the principal motive. Due to the lack of developmental variances in this
movement, both in terms of intervallic and pc components, I relate the residual gestures
to a Mtv3:RI, <+2, +1 > opposed to the Mtv3:P <+1, +2 >. As shown on the chart, the
expansions, and inversions. The horizontal homage to Mtv3 is undeniable as the linear
In contrast to the previous two movements, Ustvolskaya does not manipulate the
established motives. The seven active gestures maintain their pc identities throughout and
are only exposed to manipulation through instrumental presentation. At the onset of the
movement, four gestures, including the principal motive, are presented. As the movement
progresses, additional derivatives are introduced and statements are redistributed between
throughout. The motivation for this domain is again derived from the Mtv3:RI comprised
of pcs 0,2, and 3. The pcs contained in the six derivatives of this main gesture are all
components of Mtv2:P, the motive that has controlled the vertical domain in the previous
movements. Significant is the final vertical complex of the movement. As expected, this
verticality will act as the linkage between movements III and IV.
and piano (depicted in figure 3.62) The quartet concludes upon pcs 5, 9, and 0, while the
135
timpani and piano present Mtv3:RI upon pcs 0, 2, and 3. It is significant that the timpani,
which presents the final horizontal version of Mtv3:RI, is extended by one measure,
therefore presenting a solo version while the remaining voices are suspending their final
pcs. This organization emphasizes the prominence and significance that this motive has
had on the movement. As stated, the vertical domain is structured upon the ic components
of the Mtv2:P: ics 1, 5, or 6. In this case, ics 5 and 6 are the vertical products (as shown in
figure 3.62).
0
violin quartet final verticality
9
ic 5
5
ic 5 ic5 ic 6
0 2 3
piano/timpani Mtv3:RI
Movement IV (1–53)
directly drawn from movement II. References to the earlier movement are unmistakable
and thus reaffirm the cyclic nature of Ustvolskaya’s design. In contrast to the subdued,
recaptured here by the oboes, timpani,25 and piano statements. Strands 1 and 2 that were
integral to the design of movement II are readdressed here, now in modified, transformed
versions.
A interruption Aˈ
mm. 1–9 mm.10–18 mm.19–24 mm. 25–30 mm. 31–39 mm. 40–48 mm. 49–53
presents a motivic introduction that is then repeated in succession for the remainder of the
movement. Akin to movement III, the musical unit exposed to repetition is compact and
follows: mm. 1–3 present the principal motivic gestures, mm. 4–6 provide an exact
replica, and mm. 7–9 reiterate the main motivic material and present a condensed model.
As shown in figure 3.63, the movement can be segmented into three prime sections: mm.
1–24 present two exact and one incomplete repetition, mm. 25–30 present a transitional
six–measure interruption, and mm. 31–53 present a modified repetition of the initial
25
The timpani is relegated to a purely rhythmic role in this movement, thus I will not be
addressing it in my discussion focused on pitch. It does, however, play a substantial role
in the momentum of the work.
137
twenty-four measures. Strands 1 and 2 from movement II are revived as the organizing
As shown in figure 3.64, the instrumental trio can be segregated into two pairs:
oboes I and II motivated by strand 2 (derived from Mtv1) and the upper and lower piano
Figure 3.64. Principal gestures: strand 1 and 2 (movement IV, introduction, mm.1–
3)
Mtv1
Mtv2
Oboes I and II perform an oscillating gesture derived from Mtv1 (strand 2). Ustvolskaya
has modified the intervallic components of the prime form of this motive and now inserts
increase the instability of a pattern. The volatility of the oboe pair increases, in this
situation, due to the non-uniform placement of the repetitions between the pair. As shown
in figure 3.65, upon removing the successive pc repetitions, the unity between the pair
26
As previously discussed in the analysis of movement II, both strands are derivatives of
the introduction from movement I. This relationship is maintained in this movement, but
will not be discussed.
138
revealed that oboe II presents a prime form of the original strand 2. Ustvolskaya has
subjected the strand to a T2 transformation and extended the oscillating motion to end on
pitch G (pc 7), as opposed to the expected pitch of A (pc 9) (please refer to figure 3.65).
Pc 7 was the only pc absent in the previous movement, and is a pc that has held a central
position in earlier movements. Its motivic participation will increase in this movement
Figure 3.65. Pc reduction: Strand 2 (movement IV, introduction, mm. 1–3, oboes I
and II)
interruptions
Ob. I 5 6 5 (8) 6 (9 e) 5 6
Directed-ics +1 -1 -1 +1
Ob. II 9 7 9 e 9 7 9 e 9 7
Directed-ics -2 +2 +2 -2 +2 +2 +2 -2 -2
In contrast to oboe II, which is based upon an expanded version of Mtv1, oboe I is
more aligned with the prime version of Mtv1, maintaining the ic 1 motion. It is centred
upon pcs 5 and 6, the two pcs that were altered in the referential section from movement
I.27 The first oboe’s movement is interrupted twice, the first instance occurs with the
27
The significance of the alternation of pcs 5 and 6 was previously discussed in the
analysis of movement II. Measures 3–5 from the introduction of movement I proved to be
the basis for the material developed in movement II. In movement IV, whereupon this
material is resurrected, its origins still lay in the initial movement.
139
insertion of G (pc 8) and the second with the addition of A and E (pcs 9 and e) (as
pc of oboe II, pc 7. Both of these pcs will rise in prominence and motivic importance in
the fourth and fifth movements. The second interruption occurs with the addition of pcs 9
and e. These pcs are borrowed from the second oboe’s line, and in fact, are performed
simultaneously with this instrument (please refer to the score excerpt provided in figure
3.64, isolated with dashed-box). The pc 9/e interruption adds to the instability of the
pattern; for a brief moment, two individual lines collide, but quickly resume their
independent roles.
While the oboe pair is unravelling material inspired by strand 2, the piano is
concurrently developing its strand 1 counterpart, based upon Mtv2 (score excerpt
provided in figure 3.64). In movement II, the principal form of Mtv2 employed in the
introductory passage was a Mtv2:r1, <+5, +/-6 >, employing pcs 9, 2, and 8. This was
<+5, +4 >, built upon pcs 9, 2, and 6. In movement IV’s resurrection of this material, a
As illustrated in figure 3.66, the disjunctive gestures performed by the two piano
parts portray characteristics integral to strand 1. Similar to the oboe pair, the piano pair is
not related through transposition. Their separate motivic unfoldings are not uniform in
terms of ics, but the motivic properties are consistent with one another. The initial surface
ascent produced by the first four pcs present two overlapping versions of Mtv2 in each
pair. The left-hand contains a Mtv2:P and Mtv2r2:PCI(PE(RI)), while the right hand
contains a Mtv2r2:2PE and a Mtv2r2:RI(PE) (as depicted in figure 3.66). Following the
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presentations of the Mtv2s, are either repetitions of pcs contained in the previous Mtv2s
or pcs related by ic 1. As I have labelled these pcs in figure 3.66, these extensions are
Figure 3.66. Piano: Strand 1 presentations (movement IV, introduction, mm. 1–3)
Piano (RH) 0 3 8 t (8 e t) 0 3
<+5, +2 >
tail condensed
<+/ -6, +1 > version
Piano (LH) 5 e 0 2 (0 1) 5 e
<-5, +2 >
provided in figure 3.67, the right and left hand piano pair remains fairly consistent with
the material presented and repeated in mm. 1–6. Ustvolskaya maintains the overlapping
presentations of Mtv2 but now thins out the gesture by omitting the tail-like extensions.
141
The oboe pair, that was responsible for the Mtv1 strand 2 statements, undergoes greater
transformations.
Figure 3.67. Condensed motivic gestures (movement IV, introduction, mm. 7–9)
As illustrated in figure 3.68, the oboes motivically join forces with the piano pair,
fortifying the dominance of Mtv2. Their motivic properties align, but again, a direct
transpositional relationship remains absent between each of the individual lines. Oboe I
Mtv2r2:RI(CI) and a Mtv2r2:2PE. The concluding pcs of this final segment hold motivic
and structural significance. The final held sonority consists of pitches B, Eb, Gb, and G
(pcs e, 3, 6, and 7) (as isolated in figure 3.67). Pcs 6 and 7 were displayed prominently in
the prime pattern performed in mm. 1–6 by the oboe pair. When this ic-1 dyad is
combined with the LH piano pc e, a vertical Mtv2 emerges comprised of ics 5 and 1. The
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remaining pc, pc 3, is related to pcs e and 7 by ic 4. This was the ic that emerged in m. 9
of movement II, when the principal motive was subjected to a CON transformation.
Figure 3.68. Condensed Mtv2s: Oboes (movement IV, introduction, mm. 7–9)
7 0 3 2 t 1 5 6
violin quartet enter and reticently provide their sole statements for the entire movement.
her works, the string quartet present pcs 6, 0, 5, and e successively for the six-measure
duration. As depicted in figure 3.69, the verticality is composed of stacked ics 1, 5, and 6,
the ics that embody Mtv2:P, and thus produce two overlapping versions of set-class 3-5.
The pair of ic 5s that emerge are the pillars that were isolated in the initial nine-measure
pattern, dyads 6 and e, and 0 and 5, related by T6. This static six-measure passage is
transitional in nature, as it links the initial twenty-four measures with the latter,
Vl. I e
6
Vl. II 5
5 5 T1
Vl. III 0
6
Vl. IV 6
Ic Pc Ic
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interruption, the oboe pair is now subjected to a similar transposition at the onset of the
Significant are the pitches that the modified strand 2 passages conclude upon, pitches G
and Ab (pcs 7 and 8) respectively. These, of course, are the pcs that played a central role
in terms of motivic design and structural foundation for many of the previous
movements, including the introduction of the first (replicated in figure 3.71), and will be
Movement V (1–25)
The fifth and final movement of the Octet provides a summative function for the
entire composition. Motives, gestures, and textures that were integral and remarkable
measure movement. The subdued character and weaving instrumental lines of movements
I and III are recaptured. Interjecting these passages are declamatory propulsive statements
performed by the piano and timpani pair, reminiscent of the dynamic energy of both
movements II and IV. In contrast to the initial four movements, Ustvolskaya expands her
rhythmic vocabulary and now employs smaller note values, including eighth, sixteenth,
The final movement maintains its foundation upon repetition; however, the
process withdraws from the surface, and operates more like the initial movement, where
the repetitions are not as uniform or audibly obvious. The material subjected to repetition
is presented in the initial measure of the movement; however, unlike the previous
movements, where the length of the introduction was generally maintained in the
variations, the length of the variations in movement V is not uniform (please refer to
figure 3.72). Repetition is employed in a looser fashion, as opposed to the strict treatment
Sections Measures
Introduction 1–2
Variation I 3–4
Variation II 5–9
Variation III 10–13
Variation IV 14–20
Variation V 20–25
145
In the initial measure the prime intervallic components of Mtv1 are prominently
movement progresses, the motive will expand and previous gestures will be reintroduced,
manipulated, and elaborated. The intervallic movement never exceeds an ic 3 thus Mtv2
is not present in this domain. It will, however, emerge in the vertical organization. What
does remain constant, inserted between the manipulated material, are the rhythmic
declamations from the piano and timpani duo, built upon pitches F, Gb, and G (pcs 5,6,
These will remain unaltered throughout the entire movement, in terms of pc content and
As previously stated, m.1 presents the prime components of Mtv1 <-1,+1>, the
motive that introduced and established the material for the entire five-movement Octet.
The violin quartet, in combination with oboe I, present gestures involving only two pcs
(only violin IV extends its gesture to three pcs for motivic reasons on the vertical
domain). As illustrated in figure 3.74, the ic content is limited to ic 1. Oboe I and violin I
146
are related by T-1, both presenting a gesture of <-1>. Violins II and III present a gesture of
<+1> and are related by T-5 thus two of the ics associated with Mtv2, ic 1 and 5 are both
Ob.I <-1>
T-1
Vl.I <-1>
Vl.II <+1>
T-5
Vl.III <+1>
Violin IV presents a configuration closely related to that of violin II; however, its
maintaining the dyad design, violin IV continues its ascent and produces the DI <+1, +1>
(please refer to figure 3.74). The gesture thus concludes on pc 6, accumulating a final
sonority of <0156 >. With the addition of pc 6 in this complex, the final verticality
with the timpani/piano clusters, an additional pc is introduced into the complex and thus
147
extends the motivic design. As shown in figure 3.74, the addition of pc 7 creates an
additional version of Mtv2. Contained in this vertical complex are many of the pcs that
have acted as structurally and motivically prominent components throughout the Octet.
Absent is pc 8. As the introduction presents only the very prime components of the
Ic 1 6 1 6
Pc 5 6 0 1 7
Mtv2
Mtv2
Variation I (mm. 3–4) remains relatively true to the design of the initial two
measures. Maintaining the two-measure duration, only two instrumental lines are
subjected to minute acts of manipulation (score excerpt provided in figure 3.76). The
second violin’s ascent is expanded to a <+2> and the fourth violin’s gesture returns to its
second pc. Both of these adjustments are very slight and function primarily to foreshadow
Vl.II Vl.II
Vl.IV Vl.IV
Introduction: m. 1 Variation I: m. 3
OCTET: Music by Galina Ustvolskaja
Copyright © MUSIKVERLAG HANS SIKORSKI GMBH & CO. KG
International Copyright Secured. All Rights Reserved
148
5–9). Ic 2, which was subtly introduced in the previous variation, is placed prominently in
the motivic organization of this passage. Whereas the introduction and variation I present
the motivic material in their prime components, variation III flushes out the motivic
design. To emphasise the derivational relationship, the pc material that comprise the one-
measure prime pattern is isolated at the conclusion of the four measure expansion, thus
demonstrating how the material from mm. 5–7 is leading to and derived from these
Maintained in this variation is the motivic grouping of instrumental lines. Similar to the
opening passage, oboe I and violins I and IV, and violins II and III, are horizontally
motivic properties are shared between the grouped instruments. In m. 5, violins II and III
exhibited configurations that are related by T-5. This interval is, of course, suggestive of
149
one of the principal ic components of Mtv2. The simultaneities between this pair of
Figure 3.78. Pc reduction: Variation II (movement V, mm. 5–8, oboe I, violin I and
IV)
Measure: 5 6 7 8
<+2, +1> <-1, +1> <+1, -1> <-1, +1> <+1, -1>
I I
Vl. I 1 3 4 3 2 3 2 1 0 1 0 (pcs)
Vl. IV 2 4 5 4 1 2 4 2 1 2 1 2 4 5 6 5 4 2 (pcs)
<+2, +1> <+1, +2> <+1, -1> <-1, +1> <+1, +1> <-1, -2>
RI I I(PE)
The remaining three participants, oboe I, violin I, and violin IV, unfold lines
centred upon Mtv1 (depicted in figure 3.78). Each opening with the DI <+2, +1> related
by T1, their paths gradually contract to ic 1 (as illustrated in figure 3.78). Both oboe I and
violin I present configurations based upon pcs 0/1 (Vl. I, m.8) and 3/4 (oboe I, m. 7).
These gestures are directly quoted from m.1 from the introduction of movement I, and
maintain the transformational route taken by oboe I from this referential passage,
inversion. Variation II has thus flushed out the motivic potential of the dyad components
participants. Similar to previous movements, Ustvolskaya has devoted a passage for solo
piano, while still retaining the contrapuntal texture. The timpani/piano <567> trichord is
reduced to a single interjection and is placed midway through the piano unfoldings,
horizontal lines are reduced from five to four strands. The upper three strands of the
piano complex are motivic and pc replicas from the previous variation (as illustrated in
figure 3.79).
Figure 3.79. Score excerpt: Variation IV, piano solo (movement V, m.10)
Remarkable in this variation is the lowest, fourth strand. As shown in figure 3.79,
in terms of the intervallic property of the DI, this gesture is related to the passage
performed by violin IV in the previous variation, now transposed by T-2. This would
normally not be a remarkable relationship; however, in this instance, it is the pcs that
produce the DI that hold the significance. Pc segment <023> was the principal motivic
while reinstating the violin/oboe quintet. Horizontally, the passage does not deviate from
151
the previous variations, as ics 1 and 2 are maintained throughout. Noteworthy is the final
portion of this passage, where violins III and IV present a cohesive version of what had
figure 3.77). Previously, this pair of gestures had been vertically organized upon
the corresponding pair reduce the variances of ics, and now present only ic 5 verticalities
(please refer to figure 3.80). Ic 5 has been viewed throughout the entire Octet as a
Figure 3.80. Ic 5 Verticalities: Violins III and IV (movement V, variation IV, mm.
16–19)
Vl.III
Vl.IV
cluster coupled with a single interjection placed m. 23. Variation V replicates the four
strands presented in the piano solo; however, due to the redistribution of the strands into
the oboe/violin ensemble, the individuality of the strands emerges more prominently.
Motivically, the final variation functions similarly to each of the final passages from
significance due to the fact that it concludes the entire Octet. Provided in the final four
measures are motivically significant and prominent gestures from each of the four
previous movements. As repetition was an element that has governed not only the first
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movement, but also the motivic organization of the Octet as a whole, the final four
measures are saturated with significance (score excerpt is provided in figure 3.81).
The first oboe’s motion by ic 1 revives the opening gesture of both movements I
and IV. Not only are intervallic components of Mtv1 displayed, but Ustvolskaya has also
reinstated the original pcs which produced the inaugural versions of this motive, pcs 0
and 1, and 3 and 4 of movement I. Measures 22–23 of violin II present the T5 replica of
this motive bestowed upon pcs 5 and 6 that opened movement IV respectively. Violin II
initially performs an <+2> gesture comprised of pcs 6 and 8. These were the pcs that held
movement II. Violin III counters this initial ascent of ic 2 with a gesture that descends by
the same ic. Horizontally, the motion is reminiscent of strand 2 from movement II.
Vertically, violins II and III present the intervallic components of Mtv2, the motive that
served as the principal gesture for much of the first, second, and fourth movements. Also
revived in the final variation is the DI <023> which was the motivic foundation for the
The concluding pcs of each of the lines collide upon pcs 0, 1, 5, and 9 (please
refer to the score excerpt provided in figure 3.81). At first glance, these pcs in
combination appear to not have held a prominent position throughout the Octet;28
however, Ustvolskaya has subtly collapsed the work. Pcs 0 and 1 are the primary pcs of
oboe I that established the introduction of movement I. Pcs 5 and 9 are the concluding pcs
28
These pcs have, however, individually held significant positions both formally and
motivically throughout the Octet.
153
the introduction of movement I, the material of which provided the foundation for the
Ob.I
Vl.II
Vl.III
Vl.IV
Conclusion
Infiltrating all levels of the work including motivic, formal, and surface articulations,
each of the movements derive their design. A theme and variation organization controls
each of the individual movements, except for movement IV which presents a binary
design. Each movement presents their respective motivic introduction, ranging in length
from a brief two-measure passage in the fifth movement to the more expansive fourteen-
measure passage in the second movement. The number of variations also fluctuates,
presenting sets ranging from four to nine variations. The individual introductions present
the principal motives to be developed within each variation of the respective movement;
however, the principal motives of each movement are derived from the initial seven-
measure introduction of the first movement. Thus, the five-movement work could be
154
viewed on a higher level as a theme and variation structure itself, with movement I
presenting the introduction, and the latter four movements encompassing the variations.
motives govern both the horizontal and vertical domains of the work. Manipulations,
identified through contextual transformations on the horizontal domain, propel the work
processive technique lies at the core of her compositional foundation. It infiltrates every
level of the work and yet does not slow or hinder the forward motion of the composition.
are made; however, the element of repetition remains as the governing agent throughout
Chapter Four
Evolution of Style- Middle Period
Duet for Violin and Piano (1964)
Composition no. 1 (movement I) (1970)
This chapter will focus on an analysis of two works that fall into Ustvolskaya’s
middle compositional period: Duet for Violin and Piano (1964) and Composition no. 1
(1970). In contrast to the intricate analysis of the Octet, the analyses of these works will
not be as exhaustive, pointing out significant elements and important motivic occurrences
compositional process. As in the analysis of the Octet the motivic designs of the pieces
discussed in this chapter will employ the directed interval-class segments on the
horizontal domain as the basis of the methodology, in order to exemplify the simplified
deemed representative of her true style display both a uniformity and growth of
1
Her official catalogue is provided in Chapter One, figure 1.2.
156
compositional approach and stylistic techniques. Throughout her career, her works
exemplify the expected development and refinement that would occur during a
compositional career that spanned approximately fifty years; however, the essential
compositional attributes that define and isolate her style remain at the core of all of her
compositions.
Many of the simple stylistic elements and traits that identify her sonic signature,
which were established throughout her earlier works, continue to appear in the
compositions that fall in the middle period, such as Duet for Piano and Violin (1964) and
the trio of Compositions (1971, 1973, and 1975). Surface elements, such as her
preference for constant, uniform pulsation, still control either the piece in its entirety or
capabilities, and pitch, still shocks the listener and pushes the capabilities of both
performer and instrument. Her penchant for ics 1, 5, and 6 maintain their grasp on the
intervallic components of her DIs on both the horizontal and vertical domains.
During the 1960s and 1970s Ustvolskaya expands upon compositional attributes
characteristic of her early style while at the same introducing new elements that will
reappear in her final compositional period. Her obsession with systematic, regular
pulsation begins to relax and she now incorporates greater rhythmic variety, while still
maintaining the constant pulsations. Tonal or at least modal allusions begin to creep into
the compositional design, but are either left unfilled or contradicted by a concurrently
unravelling strand thus leaving only hints of progressions or tonal centres. Added to the
Composition no. 2, which asks for eight double basses, her self-designed wooden cube,
and piano.
While the surface elements make Ustvolskaya’s works easily recognizable to the
compositions that truly sets her apart. The processive technique of repetition remains at
the core of all of her compositions. As Ustvolskaya’s style evolves, the element of
repetition infiltrates the musical surface, while still maintaining its grasp on the inner,
much more prevalent. Vertical repetitions, such as unisons and blocks of unisons span
large durations of the work thus creating less individuality between the lines. Formally,
the theme and variation structure remains but now the variations are exposed to further
development, often creating miniature variation sets within the inner dimensions of the
work. Developed repetition thus infiltrates both the overall structure and the interior
The Duet for Violin and Piano is the final composition Ustvolskaya composed for
a traditional ensemble. The remaining eight works2 (excluding Piano Sonata no. 5) are
scored for unusual instrumental combinations and defy the attributes of the generic
formal titles they bear. The duet is organized into a single-movement work and maintains
2
This is in accordance with her official catalogue.
158
Formal Design
the surface of the music with more frequency. Simple surface repetitions are persistent
collections. This technique has a paradoxical effect of both stalling the momentum and
intensifying the energy. Unlike the theme and variation design of the Octet the form of
the Duet is not as clearly defined or deciphered. The element of repetition, however, still
dictates the formal divisions of the work, and the opening motivic material provides the
foundation for the proceeding manipulated melodic content; however, in contrast to the
Octet, the variations contain developments within their sections. The variations, as
indicated in figure 4.1, are each based on the intervallic components of the principal
motive presented in the introduction. Each variation is based upon a manipulation of the
referential motive and then proceeds to expand upon the material. The formal structure of
the introduction is not maintained within the variations thus resulting in sections of
The introduction is partitioned into two sections based upon melodic texture and
presentation of the motivic content: part A, opening through to the end of rehearsal 3, and
declamation by the violin, presenting the melodic configuration that contains the motivic
basis for the remainder of the work (henceforth Mtv1). Mtv1 will only reappear in its
present form in the final variation of the movement (an excerpt of the score is provided in
figure 4.2). Part B presents a motive melodically derived from the intervallic components
Composed of only four discrete pitches, Db, D, G, and Ab (pcs 1, 2, 7, and 8), the
opening violin configuration of part A establishes both the principal ics and centric pcs.
The piano chords coincide with the final pitch of the violin solo, Ab, and proceed to
3
Whereas in the Octet, Mtvs 1, 2, and 3 were unrelated, the two primary motives
employed in the Duet, Mtv1 and Mtv2, are closely related through transformation. This
relationship will be discussed in the subsequent section.
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punctuate the surface repetitions (please refer to figure 4.2). The violin then repeats its
opening proclamation with the sole alteration being additional repetitions of Ab at the
conclusion of the opening passage (the initial violin solo is isolated in figure 4.3a).
<128>
<712>
T6
ic 5
ic 5
Pcs: 7 1 2 8
ic 6 ic 1 ic 6
T-5
ic 1
Embedded in the violin statement are ics 1, 5, and 6 (as depicted in figure 4.3b),
presenting two versions of what will be isolated as Mtv1. Ics 1 and 6 are present between
adjacent pitches (thus present on the surface) while ic 5 is a by-product of the boundary
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pcs of each DI, when partitioned into two, three-note segments. Elevating ic 5 from
simply a secondary ic is the registral segregation of the pitches on the score, as observed
in figure 4.3a. Pitches G and D are isolated in the lower register, while pitches Db and Ab
are conversely placed in the upper register thus isolating the ic 5 dyads, even though they
are not presented as adjacent pairs on the score. Each of these three ics, ics 1, 5, and 6,
play a significant role in the motivic development throughout this work. Embedded in
this passage are two overlapping presentations of Mtv1 built upon pc segments <712>
and <128> (as depicted in figure 4.3c). The symmetrical quality of this passage is
jagged contour of the violin solo (please refer to the score excerpt provided in figure 4.2).
Again exploiting the outer-boundary capabilities of the instrument, the pitches inhabit the
extreme upper register of the piano. Composed of pcs 4, 5, 9, t, e, and 0, the ic 1 pairings
that were embedded in the violin solo are brought to the surface of the piano sonorities.
The arrangement of the verticality presented on the score and its reorganization into a
As shown in figure 4.4a, the pitches are arranged in a pattern that suggests a two-
block segmentation based upon ic 1 groupings: one comprised of pitches E and F (pcs 4
and 5), and the other comprised of pitches A through C (pcs 9 through 0). Ic 1, produced
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by pcs 4 and 5, is one of the defining ic of Mtv1 (these being ics 1, 5, and 6. The
here in the opening piano chords but will emerge in a more substantial manner in part B
of the introduction.
Figure 4.4. Pc reduction: Opening piano verticality (a. original version & b.
rearranged)
a. b.
0 t
e 9
ic 3
t T5
5
9 ic 1
4
T5
5 0
ic 1
4 e
pcs pcs
Reordering the complex reveals a structure that very much aligns with the
depicted in figure 4.4b, separating the ic 1s into three distinct pairs exposes a pair of T5
transformations, and thus the quality of symmetry is again present in this vertical
complex. The piano verticality therefore both embodies and complements the attributes
and 3) in the principal position in the violin solo by means of repetition (please refer to
the score excerpt provided in figure 4.5). Ic 3, which played a subtle role in the
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proceeding section in the piano punctuations as the intervallic distance between pcs 9 and
0, now assumes the role as the dominating ic of the violin solo. Both pcs 6 and 3 have a
clear derivational relationship with opening presentation of Mtv1 in the violin solo.
The violin response of part B consists of two discrete pcs, 6 and 3, in comparison
to the initial statement of part A, comprised of pcs 7,1, 2, and 8, generating two
individual tritone dyads. As shown in figure 4.6, pcs 6 and 3 each possess significant
intervallic relationships when associated separately with the two individual tritone dyads.
Pc 6 is related to the initial tritone dyad of part A, pcs 7 and 1, by ics 1 and 5, while pc 3,
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the second pc performed in the complementary passage generates a similar result when
placed in combination with the 2/8 tritone dyad. Ustvolskaya thus employs the intervallic
components of Mtv1:P, ics 1, 5, and 6, as the intervallic agents responsible for deriving
ics: ic 5 ic 6
pcs: 6 7 1 2 3 8
ics: ic 1 ic 6 ic 1 ic 5
The concurrent piano gesture is motivically linked to the violin part (please refer
to the score excerpt provided in figure 4.5). The upper portions of the piano vertical
dyads are comprised of pitches D, Db, and Bb (pcs 2, 1, and t) thus producing the DI <-1,
-3>. The <-3> motion between pcs 1 and t mirrors the corresponding motion of pcs 6 and
3 of the violin and is related to it by T-5. Thus both instruments are presenting what will
be designated as Mtv2, but the piano passage presents a complete Mtv2:P while the violin
decipher which rendition of the motive should be deemed the original presentation of
Mtv2 in terms of pc-content.5 The violin line asserts itself as the dominating gesture by
means of articulation; however, its representation of the motive is suggested, but not
complete. The piano configuration does present a complete Mtv2:P <-1, -3>; however,
4
As will be discussed, the <-3> motion depicted in the violin solo of part B is part of an
incomplete version of what will be designated as Mtv2.
5
Pcs are not a defining property of a DI; however, pc associations (such as the
relationship of transposition) prove to be significant attributes throughout Ustvolskaya’s
compositional design and thus determining the pcs that produce the principal prime form
is important.
165
due to its articulation and metric placement, it appears subsidiary to the violin line. I will
thus consider both pc representations of the motive to be of equal status, and will relate
introduction (opening through rehearsal 5). Symmetry is embodied in the pcs of the
opening violin solo, <7128>, with the pair of ic 1 dyads (1/2 and 7/8) pivoting around the
4/5 dyad (as depicted in figure 4.7). This dyad, 4/5, then becomes the pivotal balance of
e 0 1 2 3 4 5 6 7 8 9 t (pcs)
The only pcs absent from part A are pcs 6 and 3. This pair is introduced in part B of the
introduction in the violin response, commencing at rehearsal 4. This pc dyad, 6/3 then
uses the same pc pivot, 4/5, as part A. The element of symmetry thus acts as a connective
component to the two seemingly disparate sections of the introduction. Although the two
sections have a strong derivational association, they exhibit contrasting textures and pc
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material presented in parts A and B thus motivates the inclusion of rehearsals 1 through 5
introduction and variation I, highlighting important relationships that will become more
prominent in the variation. Two sonorities are repeated throughout this transitional
passage. As depicted in figure 4.8, rehearsal 6 shows two alternating vertical sonorities
with Ab (pc 8) holding the highest registral position, a pc that was isolated and
At this juncture pc 8 is presented alongside both its ic 1 and 3 pairings, pcs 9 and 5
(pitches A and F). Also embedded within this sonority is the tritone, framed by pcs e and
5 (pitches B and F). As depicted in figure 4.8, the second verticality in the transition
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established at rehearsal 7 is linked to the initial verticality by the T5 relation between the
lowest pair of ic 2 dyads, pcs 9 and e (pitches A and B) and pcs 2 and 4 (D and E).
A T5 relationship was previously observed as linking the prominent tritone dyads in the
overlapping presentations of Mtv1:P in part A and the two versions of Mtv2:P presented
in part B. The highest pitch in the second sonority is G (pc 7), a pc that was a participant
The violin passage maintains almost all of the pcs that were associated with the
violin solo of the complete introduction: pcs 7, 6, 3, 2, and 1. Ab (pc 8), which was
emphasized in the introduction by surface repetitions, is now omitted from the violin line
throughout variation I. Also absent are the tritone dyads of Mtv1:P, which are now
maintained and placed prominently in the opening pcs of the violin line (please refer to
(G to Gb), establishes the commencement of each repetition. Pc 7 was absent from the
violin line in part B of the introduction. Its absence resulted in an incomplete presentation
of Mtv2:P of part B, presenting only the <-3> component of the DI <-1, -3> . In variation
I, the prime form of Mtv2 is now complete, composed of pitches G, Gb, and Eb (pcs 7, 6,
and 3). As shown in figure 4.9, each of the nine repetitions (indicated by numbers framed
by diamonds above the score) do not present exact replicas of the initial melodic pattern
(pcs 7, 6, and 3 coupled with an ic 1 oscillation on pcs 2 and 3). Only the primary three
pcs involved in the construction of Mtv2:P (pcs 7, 6, and 3) are maintained in each of the
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nine replicas (these pcs are isolated with brackets). The final six repetitions are each
subjected to a process of reduction, now omitting the oscillating ic 1 gesture (pcs 3/2) that
concluded the previous three renditions. The superfluous oscillating element is removed
The piano part maintains its repetitive design and vertical structure from the
introduction. Organized into four discrete clusters (that are then repeated successively
throughout the passage), ic 1 maintains its dominance in the piano presentation (please
T1 T-5
T5
T-5
Cluster: 1 2 3 4 5
Each of the four-note vertical clusters fills in the space of ic 3. Not only is this the ic that
is highlighted in the concurrent violin line, but this is also the ic that is active in the
opening piano chords of the introduction (in fact, the initial cluster is the upper portion of
the chord presented in the introduction, part A). The intervallic components of
Mtv2, ics 1 and 3, thus act as the structural foundation of the piano part as well.
As shown in figure 4.10, the initial cluster, built upon pcs 9, t, e, and 0,
establishes the design of the remaining four clusters. A transformational path built upon
the principal ics of Mtv1, ics 1, 5, and 6, is applied to the preliminary cluster. As
170
illustrated in figure 4.10, transpositions based upon the ics of 1 and 5 dictate the
Further significance is added to this pattern when the upper pitches are
highlighted in the four discrete verticalities (these pcs are circled on figure 4.10). Pitches
C, Db,6 F, and Ab (pcs 0, 1, 5, and 8) each hold a significant relationship with one of the
three pcs that occupies a primary position in the concurrent violin line: G, Gb, and Eb (pcs
7, 6 and 3). As shown in figure 4.11, the T5 or T-5 transformations establish a cohesive
partnership between the two instruments. The only pitch that does not comply with this
pattern is the F (pc 5) in cluster 3. This pitch could, however be viewed as a secondary
pitch and not truly the highest element of the complex due to the fact that the succeeding
cluster, cluster 4, reasserts this pitch and extends the ic 1 movement up to Ab (pc 8). As
T5
7 0
T-5
6 1
T5
3 8
Violin Piano
(primary pcs) (upper pcs of ic 3 clusters)
6
The Db is not placed as the upper boundary of this cluster on the surface; however, the
pcs can be reorganized to generate a chromatically filled in ic 3. In this form, pc 1 would
hold the uppermost position.
171
variation I and the initiation of variation II. The purpose of this transition is to reiterate
the prime form Mtv2, the motive controlling variation I, and then manipulate this motivic
material and introduce prominent relationships and pcs that will emerge in the subsequent
to 18 (the first statement is illustrated in figure 4.12). The principal pc of the introduction,
pc 8, was absent from the solo violin line in variation I is recaptured immediately in the
transitional passage in the left-hand octave dyads. The transition reasserts Mtv2:P that
was prominent in the violin line from variation I and proceeds to expose the motive to
intervallic manipulations.
The right-hand passage of the piano presents the prime form Mtv2, <-1, -3>,
using the same pcs as variation I, <763>. The left hand commences on Ab (pc 8), and
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concurrently presents two separate versions of the motive. As depicted in figure 4.13, the
upper pitches of the left-hand dyad, Ab, G, and E (pcs 8, 7, 4), present the DI <-1, -3>
therefore, the prime form is maintained. The lower portion of the Ab octave dyad presents
a retrograde-inversion transformation of the DI, <-3,-1> built upon pitches Ab, F, and E
part A of the introduction, activating the overlapping Mtv1s (please refer to figure 4.3c).
DI <-1, -3>
ic 5
ic 6
DI <-3, -1>
Embedded within the left-hand passage are two pitches that do not correspond to Mtv2s:
C (upper left hand, pc 0) and B (lower left hand, pc e). As shown in figure 4.13, both of
these pc-interruptions horizontally relate to adjacent pcs by ics that occupy principal
positions in the introduction: ics 5 and 6. In isolation, these pcs, 0 and e, produce an ic 1
pairing, a relationship that is further emphasized and highlighted in the violin dyads that
After two repetitions of this passage, three additional statements are asserted with
further transformations. As shown in figure 4.14, the left-hand portion remains unaltered.
The right-hand portion, which previously presented a Mtv2:P constructed upon the
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transposition. Pc 9 (An) is now allocated as the initial pc of the melodic configuration and
will be placed prominently in the following variation. The right hand presents the
Variation II maintains the textural duality of variation I as the violin line flows
above the punctuating piano verticalities. Replacing the disjunctive melodic contour that
was prominent in the introduction and variation I, the violin now exhibits conjunct
motion, comprised mainly of ics 1 and 2. As depicted in figure 4.15, the violin passage is
segmented into two pc collections. These pc collections are then repeated followed by an
incomplete third attempt. As represented in figure 4.15 by solid and dashed lines, the two
melodic groupings are composed of the following pcs: group one (89te0123) and group
two (4560). While the pc order is not maintained in the individual repetitions, the pc
boundaries and thus ic boundaries do remain consistent. As illustrated in figure 4.15, the
two repeating, individual pc groupings, (89te0123) and (4560), maintain the same
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opening and concluding pcs for their individual groups. Pitches Ab7 and Eb (pcs 8 and 3)
frame the first grouping, while pitches F and Gb (pcs 5 and 6) frame the second. Two of
the principal ics of Mtv1:P of part A, ics 5 and 1, are now present in this passage, albeit
in an abstract fashion.
Figure 4.15. Score excerpt: Violin line (variation II, rehearsals 18 through 23)
percussive piano counterpart. During the initial statement of each of the horizontal
7
The first appearance of group one is not established by Ab, but rather An. This alteration
is not without foundation in the principal motive, as ic 6 produced by the boundary pc of
the first statement of group one is also a prime ic contained in Mtv1.
175
groups, previously isolated in figure 4.15, there are two verticalities presented and
repeated in the piano. The ics that were showcased in the upper horizontal line of the
violin, both the filled ics 5 and 1, maintain their presence in the verticalities, now with the
individual verticalities and the relationships among them (verticalities are isolated in
figure 4.16a, and the emerging relationships are illustrated in figure 4.16b).
As depicted in figure 4.16b, by segmenting the two vertical sonorities into four
T1, T3, T-3, T5, and T6 emerge among the four individual clusters. The outer boundaries of
the register are again exploited in the vertical clusters, with pc 9 (A, lowest pitch of first
sonority) and pc 8 (Ab, highest pitch of second sonority) placed on the outer reaches of
the vertical sonorities. Ic 1 is thus present in the inner components of the verticalities and
Pc 8
Pc 9
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T3
4567 789
T6
T-5 T-3
T1
9e te01
a) b)
Corresponding to the initiation of the first repetition of the violin statement (as
indicated in figure 4.15) is the addition of a new verticality into the piano punctuations
(as illustrated in figure 4.17a and b). The piano punctuations appear sporadically
depicted in figure 4.17b, the relationship of the additional third verticality (designated as
8
As shown on the illustrations provided in figures 4.16 and 4.17, verticality a) contains
an ic 2 dyad composed of pcs 9 and e. I relate this dyad to the ic 1 clusters, even though
the intervallic components are not consistent. I view it as an incomplete filled in complex,
and its lowest pc, pc 9, can still relate to the lower pcs of the corresponding complexes
(which is how the transformations are determined in each case). This is similar to how I
relate clusters that contain three pcs to clusters that contain four pcs. Even though the
objects are not the same size, I relate the cluster collections with one another due to their
consistent intervallic profiles. The lowest pcs act as the foundation for each of the
clusters and it is their relationships that determine the Tn component.
177
a) b) c)
T1
4567 3456 789
T-5
T6
T-5
9e 012 te01
T-3
a) c) b)
Transpositions of T1, T-3, and T6 are prevalent between the sonorities. Comparing
the underlying relationship. Therefore, each of the principal ics of the prime forms of
Mtv1 and Mtv2, 1, 3, 5, and 6, are present and dictate the movement of the piano
punctuations.
The final four variations emulate both connections to and deviations from each of
the three previously discussed variations. Employing the principal motivic material
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established in the introduction, the final four variations expand, manipulate, and combine
the prime motivic components that defined the introduction. For the remainder of this
analysis, I will discuss the principal motivic gestures, generators, and derivational
Variation III (rehearsals 26 through 32) revisits both the disjunct texture and
reclaimed and provides the melodic foundation for the violin line. In contrast to variation
variation III manipulate both the pc and the intervallic components. This section can be
segmented into three passages, each based upon an individual transformation of Mtv2. As
depicted in figure 4.18, the prime form of the motive is exposed to transformations of
partial contour inversion and rotation. In the middle repetition, presented in rehearsal 29
to 30, the prime form is employed; however, at this point in the variation the interval of
transposition is placed in the forefront. In comparison to the original pcs that generated
this DI in the second part of the introduction, <21t> and <763>, the current pcs, <109>,
are related by T-1 and T6 respectively, referring to the two defining ics of Mtv1:P.
texture and dynamics. The violin line maintains its disjunct texture accompanied by a
9
The principal motive was built upon pcs 7, 6, and 3. Please refer to figure 4.9.
179
single repeated verticality rippled in the lower register of the piano (please refer to the
score excerpt provided in figure 4.19a). Transformation upon the Mtv2 is now applied in
a more abstract fashion. A close inspection of the pc organization of the violin line
reveals a segmentation of the collection into two separate groupings. Throughout the
violin line there are consistent pairings of pcs; for instance, pcs 6 and 3 (pitches Gb and
Eb) are frequently placed consecutively as well as pcs 7 and 6 (pitches G and Gb).
Employing this rationale for segmentation, two separate groupings emerge from the
2 1 6 3 1 t 7 6 3 1 t 7 3 2 1 t 7 6 2 1 t 2 6 3 1
fragmentation of the original three-note motive; the motive has been segmented on the
surface and represented now by its simple, basic intervallic components. Similar to
of variation II, commencing with a passage scored for solo piano. Maintaining the
piano’s vertical design with cluster chords, the melodic passage is articulated as the
highest pitch of each of the sonorities, presenting an exact replica of the meandering
violin melody established in variation II (please refer to figure 4.15a). The violin then
takes over the second reiteration of the melodic statement at rehearsal 49 and performs
the final complete repetition of the material. Accompanying the violin line, the piano
performs trichord verticalities composed of ics 1 and 2 (thus verticalizing the horizontal
movement).
disintegrate and small cells of the line are subjected to successive repetition (commencing
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at rehearsal 53, not shown). Removed from the violin passage is what had been
segmented as group two during the previous analytical discussion of this passage in
variation II (group two was framed by pcs 5 and 6, please refer back to figure 4.15). This
segment, (4560), is now removed from the horizontal violin statement and the ic of the
tritone (contained within the segment) is transferred into the piano chordal punctuations
10
I believe pc 9 (A) in the lower cluster should be pc 7 (G). When this cluster is repeated
just before rehearsal 57 (not provided in score excerpt) it is this pc in its place. This
would create an ic 6 with the upper pc 1 (Df), which would then follow the established
pattern. No other cluster chord is altered throughout this passage.
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referencing individual manipulations that defined the five previous variations.11 The
passage from rehearsals 72 through rehearsal 79 represents the emphatic return of the
introduction. Both the piano and violin present part A of the introduction in its entirety.
The B section then begins in rehearsal 75, but it is subsequently interrupted by a return of
part A, now in a reduced form. The latter half of the B section is then completed after this
brief interruption.
Figure 4.21. Score excerpt: Meandering violin line with Mtv1:P in piano (variation
VI, rehearsal 89)
variations I and III. Passing through a variety of transformations of the Mtv2, pcs 6, 7 and
8 are repeated and emphasised. Countering the ic 1 movement above, the piano
11
The final variation of movement I of the Octet also exhibits a summative function, as
we saw in chapter three.
183
punctuations assert ic 5 through the boundary pitches of the piano cluster complexes.
contrast to the chordal accompaniment articulated in both of the previous sections, the
piano now counters the stepwise violin line with a reduced statement of the initial
material of the introduction thus reasserting Mtv1:P. Featuring pcs 7, 1, and 2, only pc 8
is omitted.
excerpt provided in figure 4.22), states a closing reference to Mtv2:P, presented on the
original pcs of 7, 6, and 3. Whereas in the original presentation of this material in part B
of the introduction, G (pc 7) was absent, the resurrection of this material in the closing
section of the work presents a complete prime form. The trichord is then reduced to a
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dyad, repeating pcs 7 and 6 over the ic 5 piano boundary chords in the piano. It is striking
that pc 6 (Gb) plays such a dominant role in the final pages of the work. Perhaps this is
simply a final ic 1 relation connecting the concluding pc of the work to the pc that
The element of repetition thus infiltrates multiple formal levels of the Duet. It
affects the overall organization of the theme and variation format while at the same time
penetrating the design of the individual variations. Each variation focuses on a motivic
element presented in the introduction, and then proceeds to expose the individual element
and expand upon the principle of repetition, maintaining some characteristics of the Duet,
three separate works given the simple generic title of a numbered composition. Paired
with each work is a subtitle taken from the Latin liturgy, in the case of the first, “Dona
Nobis Pacem.” Each of the three works is scored for an unusual instrumental ensemble.
Composition no. 1 is composed for piccolo, tuba, and piano, and was first performed
work, in which I will only be discussing the first, is firmly founded upon the process of
Formal Design
As in the structure of the Duet, the element of repetition controls not only the
formal design of the movement, but is also built into the inner components of the motivic
pcs and pc collections. Almost acting in the manner of an ostinato, the principal motivic
statement, stated plainly at the onset of the work is constantly unravelling throughout the
six variations, for the most part, in a clearly audible format (formal divisions are provided
layers, the foundation of which is clearly rooted in the DI components of the opening
motivic construction.
unimposing fashion. As shown in figure 4.24, the principal motivic statement can be
partitioned into three components defined as x, y, and z, with a single motive, Mtv1,
acting as the motivic foundation for all three.12 The element of repetition is built into the
12
As the principal motivic statement, comprised of the x, y, and z configurations is
treated as an ostinato pattern throughout the work, my focus will be placed on the
interactions of these configurations in the variations. As shown in figure 4.25 these
motivic configurations are derived from a transformational path of a single motive, Mtv1.
186
principal motive of the work, Mtv1, is established at the onset upon pitches F, G and Fs
(pcs 5, 7, and 6) producing the DI <+2, -1>. The transformational path for the
introduction is saturated with minute adjustments, for the most part, centred upon
dotted arrows in the inner portion of the diagram. The first and last versions of Mtv1,
<+2, -1> and <+1, -2>, are related by retrograde and are composed of pcs related by T6.
progresses. Similarly, the second and seventh DIs are both <+2, +1> and thus exhibit a
prime relationship with one another. The third and sixth, and fourth and fifth DIs are
DIs are more closely related as they are subjected to only single manipulations.
x x repeated y z
Composition no. 1: Music by Galina Ustvolskaja
Copyright © MUSIKVERLAG HANS SIKORSKI GMBH & CO. KG
International Copyright Secured. All Rights Reserved
Due to the manner in which Ustvolskaya employs the element of repetition in this work,
it is easier to refer to the individual configurations, x, y, and z, opposed to the Mtv1
transformations contained in each. As Ustvolskaya rarely alters the configurations
intervallically, the presentation of the motive remains constant throughout. It should be
understood that Mtv1 is always in effect.
187
PCI
PCI(PE)
CI(PE)
PCI(PCON)
I(PE)
PCI(RI)
PCI < +2, -1> < +2, +1>
Pcs: 5 7 6 8 9 7 5 7 6 8 9 7 9 e 0 1 e
x x (repeated) y z
Melodic density increases in variation I as the piano and piccolo enter and fulfill
the remaining two positions of the instrumental trio. As the tuba maintains its presence in
the lower register, the piano and piccolo occupy the opposite extreme. The tuba asserts a
single statement of the opening statement with no alterations, while the piano and piccolo
provide accompaniment figures. As shown on the score excerpt, provided in figure 4.26,
the piccolo and piano avoid simultaneities with the tuba strand throughout this passage.
As depicted in figure 4.27, important intervallic relationships emerge both between the
accompanying pair and between the pair and the tuba. The piccolo’s and piano’s pc
while the piano presents single cluster verticalities. Pcs 5 and 7 (pitches F and G) of the
188
(***figure 4.27)
Piccolo 7 8 7 9 t 9
Tuba 5 7
189
piano verticality (and in the corresponding verticalities in rehearsals 2 and 3) mirror the
active dyad in the tuba solo (pcs 5 and 7), while the upper pcs of the piano verticalities,
(pcs 5 and 7) reaffirm the principality of the tuba solo by maintaining the identical pcs.
Isolating the repeated pcs of the piccolo oscillations and the lower boundary pcs
of the piano verticalities reveals two significant intervallic associations. The first gestures
reveal a relationship of T-5 (pc 7 to pc 2) while the second pair of gestures exposes a T6
connection (pc 9 to pc 3). Ic 6 is the boundary ic of the opening motivic statement (pcs 5
and e, please refer to figure 4.25), while ic 5 is the boundary ic concealed between the x
and y configurations (pcs 5 and 0). Both of the intervallic associations will continue to
resurface in the upcoming variations. As shown in figure 4.27 (isolated by dotted arrow)
the repeated pcs in the piccolo configuration (pcs 7 and 9) are related by T2 to the active
manipulation is achieved in this passage through segment reordering and the addition of
melodic layers. Each of the three configurations previously segmented in the principal
motivic statement, x, y, and z, is present, now dispersed between multiple layers. The
passage can be segregated into three separate strands, two horizontally and one vertically
staggered fashion, strand I (as defined in figure 4.28) initiates the passage presenting pcs
6 and 8 (Fs and Gs) from the x configuration. The expected opening pcs, 5 and 7 (F and
G), are placed in strand III as the upper pcs in two discrete ic-1 based vertical trichords.
Strand III is repeated sporadically throughout the entire passage and remains unaltered.
Strand II gains prominence in rehearsal 6 (please refer to figure 4.28) when it presents a
190
rehearsal 6. It is the verticalities that emerge between the two strands that motivate this T4
pairing.
Strand II (x)
Strand III (x)
Strand III (x)
Strand I (y & z)
ics: 1 2 5* 2*
2, and 5. Ics 1 and 2 are the primary ics of Mtv1, while ic 5 was previously employed in
variation I relating the piccolo and piano gestures and as the boundary ic of the
rehearsal 5. Thus surface repetition is still present in this variation, but in place of the
consecutive repetition of the x configuration, the altered repetition is placed at the end of
the passage. Variation II thus functions to destabilize the motivic components of the
Whereas variations I and II maintain a length that is relatively consistent with that
configuration was subjected to consecutive repetition. In variation III, not only is the
y and z, endure a similar focus. In addition to the complete motivic statement performed
rehearsal 9, but subsequently overtaken by the tuba in rehearsal 11 for the remainder of
statement. In contrast to the rising contour of the piano line, the countermelody
Surface pitch repetitions are abundant in this elongated melody as pcs 3 and 1 both
less uniform, and at times, pitches sound as if they are interjecting one another, in
contrast to the uniform rhythmic organization of the principal statement. Despite these
192
contrasting surface elements, the countermelody is closely linked to the principal motivic
countermelody
x
configuration
shared z
configuration
countermelody
y configuration
Mtv1:P, provide the foundation for the new countermelody. Employing the x
been removed). Each pc, except for the concluding pc of the x configuration and the
x configuration F G Fs Gs A G piano
(principal motivic
statement) +2 -1 +2 +1 -2 directed-ic movement
Retrograde: T6
Countermelody E Eb D C Db Cb piccolo/tuba
-1 -1 -2 +1 -2 directed-ic movement
Repetitions of both strands, the principal motivic statement in its entirety, and the
new countermelody, provide the formal divisions of this variation. Although the principal
statement is subjected to surface manipulations, its identity is not obscured. Omitting the
rests originally dispersed between individual pcs, the complete configuration now flows
without interruption (please refer to figure 4.29). Following the repetition of the x
configuration. In the second system illustrated in figure 4.29, the y configuration, <9e0>,
is repeated four times, three complete versions and one incomplete. Although the order of
pcs is not altered, Ustvolskaya has carefully placed specific articulations on the score,
accents and gesture groupings, to audibly disrupt the order. As depicted in figure 4.31,
9 e 0 9 e 0 9 e 0 9 e pcs
Ustvolskaya has thus subjected the prime form of y, Mtv1:PCI <+2, +1>, to the
transformation of rotation and further segmentation. The prime form is placed on the
194
score; however, due to the articulation it is audibly disguised. Along with single dyads of
directed-ics <+1> and <+2> (the two defining ic of the prime form of y, now presented as
two separate dyads), both r1 <-3, +2> and r2 <+1, -3> are presented in this extended y
and Cb (pcs 1 and e), does not occur in the piano, but is instead presented as the final pcs
of the piccolo countermelody (circled and labelled on figure 4.29). Both strands share this
<-2> gesture as their concluding pcs, further unifying these two individual statements.
repetition remains unaltered except for an octave shift in the piccolo line, maintaining its
presentation of the countermelody. The third repetition (rehearsal 11) has the tuba
usurping the presentation of the piccolo countermelody along with trichord additions in
the piano line (the trichord additions can also be seen in rehearsal 14, which is illustrated
in figure 4.32a). The principal motivic configuration remains in the upper voice of the
rehearsal 12, presents the most expansive rendition. In contrast to the two previous
repetitions (at rehearsals 10 and 11) that presented identical pc reiterations of the original
of elements infiltrate the surface design. This final statement demonstrates the technique
The fourth and final statement commences in a similar manner to the previous
three. The tuba maintains its performance of the countermelody while the piano continues
its statement of the principal motivic configuration, now with octave doublings of the
trichords in the lower register. The x configuration is repeated twice and leads into the
expected y response; however, the y configuration is left incomplete, only stating pcs 9
and e. A single repetition of the x configuration is interjected into the pattern, before the y
where the disintegration of the pattern begins to surface more fully (score excerpt
Cb, pcs 1 and e), is absent in the tuba line and is now placed in the right-hand portion of
the piano passage (this can be seen in figure 4.32a, commencement of rehearsal 14,
marked as z). Countering in the left hand is a final reiteration of the y configuration (with
(marked on the score in figure 4.32a as the first y configuration). For the remainder of the
variation the tuba will oscillate between pcs 4 and 3 (pitches E and Eb) until rehearsal 18,
whereupon the piccolo reasserts itself and continues and concludes upon the 4/3 dyad.
Whereas the countermelody contains fewer discrete pcs and less clearly defined
segments, the disintegration of the passage therefore takes a less complex path.13 The
principal motivic statement is more substantial with stronger interior segments; therefore
13
Small alterations to the countermelody actually began to surface at the onset of the
fourth statement (rehearsal 12); however, due to the looser format of this melody, the
alterations did not have a significant effect upon the integrity of the pattern. It is in
rehearsal 14 where the repetitions of the 4/3 dyads affect the surface structure more
substantially.
196
Figure 4.32a. Variation III (rehearsals 14 through 18, piano and tuba)
z
x
y x
y x z
z x y
x y
x
z
z
Composition no. 1: Music by Galina Ustvolskaja
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197
its disintegration is a more substantial process. As depicted in figure 4.32a, the piano now
splits up into two separate lines (whereas before, the right hand and left hand were
individually. The two lines present the motivic components in the following order, as
Figure 4.32b. Right and left hand motivic configurations (variation III, rehearsals
14 through 18)
RH: z x y x z x y _
LH y x z x y x z z
The x configuration maintains its prominent position in the pattern, as it is the only
configuration that is aligned between two the hands. The first instance of the x
configuration is presented in the latter half of rehearsal 14, stating the first reduced
notes of the trichord verticalities, the initial three pcs are maintained from the original
presentation. The second appearance occurs just before rehearsal 16, now further
condensed into a pair of chords, highlighting pcs 5 and 7. The final statement is a single,
trichord verticality presented just before rehearsal 17. The final statement is reduced to a
single principal pitch, F (pc 5), the pc that establishes the x configuration. The y and z
configurations are subsequently paired together between the two hands (as shown in
figure 4.32b) and interject between the x statements. They too undergo a reductive
maintaining its presence through the indicated articulation. As previously stated, the final
line of variation III has the tuba relinquish its 4/3 dyad to the piccolo. The piano presents
198
three final statements of the z configuration, two complete, and one incomplete,
Variation IV can be separated into two sections based upon texture and motivic
presentations: part I, performed solely by the piano, and part II, involving all three
single, exact replica (the initial statement is provided in figure 4.33). Unravelling in this
passage are three different, but related elements that will appear more prominently on the
surface in part II. Framed by boxes in figure 4.33 are two gestures shared between both
the left and right hand passages. Both hands present gestures that are comprised of
stacked ics 1 and 2, but it is the uppermost pc of each hand that provides the motivic
basis. The first box isolates a complete x configuration in prime form, transformed by T-5.
boundary ics of the previous two melodic strands (principal motivic statement,
Following the two statements of the x configuration are the original y and z
configurations, in prime form and left non-transposed (left hand only). The remaining
pitches in part I, circled in figure 4.33, amount to pitches G, F, Gb, Bb, and Ab (pcs 7, 5,
6, t and 8).14 It is the initial three pcs, 7, 5, and 6, that provide the basis for what will be
more fully developed in part II of this variation. These pcs produce a Mtv1:I, <-2, +1>.
14
In this collection of pcs I did not include the ic 1 clusters that follow pcs t and 8. These
pcs are secondary in nature, and are analogous to the downward glissandos present in the
z configuration.
199
Pcs t and 8, producing a directed-ics of <-2>, are related to the z configuration, now
transposed by T-3.
Part II, commencing at rehearsal 21, displays a similar formal design to that of the
introduction at the onset of the movement and the first part of variation IV: statement and
repetition. The initial statement, provided in figure 4.34 is performed solely by the piano
while the replica is carried out by both the piano and piccolo (rehearsal 22, not provided).
The Mtv1:I built upon pcs 7, 5, and 6 that was introduced in part I, is now active as a
figure 4.34 as x:I). Paired with the inverted x is a non-transposed, prime form of the same
motivic configuration presented in the left hand (x:P). Maintained in this passage is the
the y and z configurations. As is evident on the score, the two active lines share the
x:I
x:P z:P
24, a final statement of the principal statement is presented, now performed by the absent
participant in this variation, the tuba. Countering the tuba presentation are piano
inverted dyads, in the low register. The z configuration closes off the fourth variation yet
again, with Ustvolskaya’s stylistic employment of extreme dynamic markings of ffff with
crescendi.
201
Variation V emerges from the emphatic conclusion of the previous passage with a
piano, expressivo opening comprised of static piano clusters (score excerpt provided in
figure 4.35).
Structured similarly to its predecessor, the motivic material for this variation is drawn
from both the principal motivic statement and its inverted counterpart. Separation of this
material as a discrete section is motivated by the piano clusters, which provide both a
202
structured division between the variations, and a distinct textural duality between the two
unravelling parts. The static clusters present portions of the prime form of the original x
configuration while the upper piccolo part, commencing at rehearsal 26, presents a more
introduce y and z configurations, concluding the statement and leading into a reiteration.
Motivic manipulations include disruptions of the pattern due to surface dyad repetitions
The third reiteration, commencing at rehearsal 31, returns to the cohesive texture
that dominated variation IV. The piano and tuba converse in a combative fashion,
maintaining the two melodic strands that have controlled both the present variation and
its predecessor. What is perhaps the most significant event of this variation occurs in the
latter portion of the third reiteration (rehearsal 32). Introduced into the melodic content is
figure 4.36). As will be discussed, this cluster serves to link the melodic material of
variations.
cluster chord performed by the piano interrupting a presentation of a prime form of the x
configuration. It is then repeated five times before a horizontal version is presented by the
tuba, concurrently with vertical punctuations by the piano (as isolated in figure 4.36).
This collection of pcs is not without previous foundation from earlier parts of the work.
The countermelody introduced by the piccolo in variation III meanders around each of
these pcs, with the addition of pc e (please refer to figures 4.29 and 4.30).
203
Horizontal (01234)
Composition no. 1: Music by Galina Ustvolskaja
Copyright © MUSIKVERLAG HANS SIKORSKI GMBH & CO. KG
International Copyright Secured. All Rights Reserved
significant that Ustvolskaya has altered this collection by omitting the sixth pc (pc e, Cb).
discussed), is comprised of pcs 0, 2 and 4, thus presenting a melodic unit with the
identical boundary pcs. Whereas movement I at this point, hints at this melodic strand in
204
chromatic form, movement II, which relies on movement by ic 2 for the majority of its
motion, presents the melodic segment in a whole-tone format. Thus this collection of pcs,
0, 1, 2, 3, and 4, functions to link an idea from the first movement with a significant
The final, sixth variation (rehearsals 37 through 43) has a summative function,
with the initial portion, rehearsals 37–39 presenting material identical to variation I. Each
of three main strands, the principal motivic statement containing the x, y, and z
rendition of the principal motivic statement performed by the piano alone, now in an
agitated manner. Complementing this restless presentation and closing the movement is
the final statement by the piccolo, performing its countermelody centred upon pcs 0, 1, 2,
3, and 4. The final two pcs, pcs 1 and e, present the z configuration and thus frame what
Conclusion
contrast to the earlier works, such as the Octet, repetition is now found more abundantly
on the surface. Successive repetitions of both individual pcs and small sections are
frequently found throughout the Duet for Piano and Violin and Composition no. 1. Each
of the works commenced with an introductory passage that established the motivic
material for the remainder of the work. Unlike the Octet, the works composed in this
205
period contain further development within the individual variations, producing less
clearly defined formal boundaries and greater clarity in terms of audible repetition.
The Duet provides a clear example of repetition and development within the
individual variations, as each variation was defined and delineated through the use of
primary motivic statement presented first by the tuba, is heard throughout the entire work
with only small deviations. Development is obtained in this work through the addition of
layers added above or below the motivic configuration, derived from the sole motive,
Mtv1. Reiterations of the themes are then subjected to segmental repetition, reordering,
and eventually destruction. Repetition emerges closer to the surface of the formal design,
In Ustvolskaya’s earlier works, the element of repetition was less explicit than in
her later works. As her style evolves, repetition maintains its grasp on the foundation of
the composition, while at the same time infiltrating the shallower layers of the work, and
thus become more audible to the listener. As her style evolves further, the element of
repetition will subsume the composition as a whole. Although her use of developed
repetition is evolving, her sonic signature remains intact. The principal motives maintain
their grasp on both the horizontal and vertical domains simultaneously. Interval-classes 1,
5, and 6 are prominently displayed and now presented frequently in the form of cluster-
chords. Surface repetition in succession is used with more frequency, creating the
206
paradoxical effect of both stalling the momentum and intensifying the energy.
Chapter Five will provide analysis of Symphonies nos. 3 and 4 to illustrate her
final composition period. Symphony no.3 displays compositional connections with the
works of the middle period while concurrently foreshadowing developments that come to
fruition in the final two symphonies. Symphony no. 4 provides a clear example of
Ustvolskaya’s fully evolved, mature style, a compositional style that has been stripped of
excess and superfluous elements, and now lays its essence bare to the audience.
207
The last analytical chapter focuses on two works that fall into Ustvolskaya’s final
compositional period: Symphonies nos. 3 and 4 (1983 and 1985–87). The analyses of
these two works reveal the culmination of her stylistic evolution. The intricate motivic
developments and densely woven layers that saturate the earlier works (Octet, Chapter
Three) gradually lessen their hold on the compositional design and are replaced by an
increase in dependence between the layers and more audible motivic associations. This
movement towards a simplified motivic structure was first observed in both the Duet for
Violin and Piano and Composition no.1 (Chapter Four). The four Symphonies that fall in
her final creative period, in particular Symphony no. 4, are representative of her fully
still maintaining her unique approach to repetition. Paul Giffiths describes Ustvolskaya’s
1
Paul Griffiths, Modern Music and After (Oxford: Oxford University Press, Inc., 2010),
264.
208
During the final two decades of Ustvolskaya’s career, symphonic writing became
her compositional focus.2 Symphonies nos. 2, 3, 4, and 5 are the products of her final
creative efforts and span the years of 1979 to 1990.3 Each of these symphonies is
arranged into a single movement and they do not portray any of the forms or attributes
typically associated with this generic title. The most prominent departure from the
instrumental associations of the symphonic genre is that each composition includes the
voice. The first three feature texts by the Benedictine monk Hermannus Contractus4 taken
from the “Monuments of Medieval Latin Literature from the Tenth to Twelfth
Centuries,”5 sung in Russian respectively. The final Symphony features spoken rather
than sung text taken from the Lord’s Prayer. Despite the title of Symphony for both of
these works, each is scored for a different combination of instruments, ranging from a
relatively full ensemble to a sparse quartet, with Symphony no. 5 featuring her own, self-
2
Symphony no. 1 was composed very early on in her career in 1955. The symphony is
rarely performed, and is not published by Sikorski (although it is listed in her official
catalogue). It is scored for a symphonic orchestra, featuring a celesta, harp, and two boy’s
voices with microphone. It is set in three movements, with the second featuring a song
cycle-like structure employing children’s songs, in Russian, by Italian writer Gianni
Rodari. This symphony is firmly rooted in the group of early works meant for public
consumption.
3
She would also complete her final two piano sonatas during this period: no. 5 in 1986
and no. 6 in 1988.
4
Hermannus Contractus (1013–1054) is a Benedictine monk known for his writings on
the scientific topics of music, arithmetic, and astronomy, along with his musical
compositions. His sole music treatise, titled “Musica” focuses on the eleventh-century
Germanic speculative theory whereupon he discusses the relationship of the species of
4th, 5th, and octave in regards to the church modes. Grove Music Online, s.v. “Hermannus
Contractus” (by Lawrence Gushee), https://www.grovemusic.com/ (accessed May 13,
2013).
5
This is stipulated on the scores.
209
designed percussion instrument, referred to as the cube.6 Analyses of the third and fourth
basses, 3 tubas, 2 bass drums, 1 tenor drum, piano, and vocalist, Ustvolskaya places a
seating plan in the title page of the score to ensure a sonically precise performance. It
premiered five years after its completion date in 1987 by the same conductor and
The male cantor is provided with instructions regarding microphone use, attire, and
directing his prayer to God with great fervour. The spoken text is proclaimed twice in
6
Designed specifically for two of her works, Composition no. 2 (1972/73) and Symphony
no. 5 (1990), the construction of the cube is to be treated in the identical manner as her
works, with precision and detail. The cube is described by her husband, K. Bagrenin, as
being a “chipboard cube (ca. 43 cm by 43 cm) made of 1.5cm thick boards which is
struck with two mallets……it is impossible to say what weight they were, or kind of
wood they were made from, but their form and size were similar to a standard mallet
which is used to hammer nails.” Konstantin Bagrenin, “Precision,”
http://ustvolskaya.org/eng/precision/php (accessed July 4, 2012).
7
Sikorski Catalogue: Galina Ustvolskaya, (Hamburg: Musikverlag Hans Sikorski, 2008):
13.
8
Translation provided on score (Sikorski).
210
completion (mm. 42–49 and 142–52) with instrumental accompaniment, while the work
concludes with a single passionate utterance of the final line, now unaccompanied (mm.
180–183).
for Violin and Piano, while also alluding to the format of both Symphonies nos. 4 and 5.
The principal motive is established at the onset of the work, followed by subsequent
manipulations. The principal motive and its subsidiary forms are then repeated
throughout the single-movement work, left undisguised and clearly audible. Divided into
ten sections (including the introduction), the initial three principal sections, introduction,
variation I, and variation II, return in the latter portion of the work. Although variances
In previous works, for instance, the first movement of the Octet, earlier portions
of the work return in the latter sections; however, these sections are still subjected to
some sort of motivic manipulation. In Symphony no. 3, very few significant alterations
occur, and thus the element of unaltered repetition occurs on multiple levels of the work:
surface repetitions within variations, motivic repetitions across variations, and block
repetitions of complete formal units. As illustrated in figure 5.2, inserted between certain
variations are passages designated as links. They occur systemically throughout the work
framing pairs of variations. The melodic material and purpose of these sections will be
9
This formal design will gain greater clarity after the discussion of principal motives.
211
Principal Motives
Although the work functions motivically in a manner that we have come to expect
from Ustvolskaya, the introduction supplying the principal motivic content for the entire
work, the character and method of employment of the motivic material is presented here
in a slightly different manner. The demure initial chord, dynamically marked mp and
espressivo!, is held for a total of eighteen beats (please refer to figure 5.3a). It is this
unassuming verticality that will supply the motivic foundation for the entire work.
The opening verticality is performed by the oboe quintet and consists of five
discrete pitches: Db, Eb, E, Bb, and C (pcs 1, 3, 4, t, and 0, please refer to figure 5.3a).
After eighteen beats, the oboe quintet passes the verticality, now transposed by T1, onto
the five double basses (please refer to figure 5.3b). The verticality is then transposed four
times in succession by T2 and will be present for the entire duration of the introduction
(mm. 1–15).
212
Figure 5.3a. Score excerpt: Introduction (mm. 1–3, oboes and trumpets)
Figure 5.3b. Score excerpt: Introduction (mm. 4-7, double basses, ic-2 ascent)
T1 T2 T2 T2 T2
Symphony no. 3: Music by Galina Ustvolskaja
Copyright © MUSIKVERLAG HANS SIKORSKI GMBH & CO. KG
International Copyright Secured. All Rights Reserved
213
T1 T2 T2 T2 T2
ics
0 1 3 5 7 9
Mtv1 2
t e 1 3 5 7
(prime) 6
4 5 7 9 e 1
Mtv1 1
3 4 6 8 t 0
(variant) 2
1 2 4 6 8 t
pcs pcs
oboes (mm.1–3) double basses (mm. 4–9)
Segmenting the verticality into two overlapping trichords (figure 5.4a) reveals Mtv1 and
its respective DI. I invoke the concept of a DI in the vertical domain due to the unique
The verticality lends itself to segmentation into upper and lower parts because the upper
throughout the work. The identical pcs are maintained in the horizontal version, but in
10
As established in Chapter Two, direction and order are not properties contained in the
vertical domain; however, because the principal motive in this situation is first presented
as a verticality the quality of direction must be asserted in its first appearance in order to
relate future variants. The quality of direction is derived from reading the verticality from
the bottom pc up; therefore, each ic is given a positive directional ordinate (except for ic
6 which is always viewed as dual-directional). One could read the verticality in the
reverse order, thus placing negative ordinates upon the ics; however, I have chosen to
approach the verticality in the conventional manner, and this will remain consistent
throughout. A transformational route will also be established between the upper and
lower trichords, but again, this is not a relationship that is usually asserted in this domain.
The relationship is possible in this particular case due to the fact that I have forced the
properties of direction and order onto this verticality in order to relate future, horizontal
occurrences (which is how it is principally presented hereafter). Even though the route
from the lower trichord to the upper trichord would need one less transformation
[MULT(RI(r2))], Ustvolskaya notes continuously throughout the score that the upper
complexes be given prominence, and therefore, this is reflected in my analysis.
214
retrograde form. As depicted in figures 5.4a and b, segmenting the verticality reveals two
DIs: <+2, +1> and <+/-6, +2>. The upper trichord presents Mtv1:P <+/-6, +2> while the
lower trichord presents a variant of the same motive, MULT(RI(CI(r2))). This is a series
of manipulations that will resurface throughout the work. The transformational route is
illustrated in figure 5.4b (the verticality is depicted horizontally to help highlight the
associations). Due to the fact that the upper trichord is isolated and presented as a
-4 +3 directed ics
4 t 0 1 3 4 pcs
MULT(RI(CI(r2)))
<+/-6, +2> <+2, -4> <+2, +4> <+4, +2> <+2, +1>
B r2 CI RI MULT
measures of the work, partially established in m.2, and fully actualized in m. 3 (please
refer to the score provided in figure 5.3a). Four trumpets present the verticality comprised
of pitches F, Gb, Db, and D (pcs 5, 6, 1, and 2), producing a stacked verticality of ics 1, 5,
215
the upper oboes. The intervallic components have been subjected to a CON manipulation.
The original ics of Mtv1, ics 6 and 2, are now contracted in this verticality to ics 5 and 1.
The complete chord is held for nine beats, and is only recaptured in the referential return
of the opening passage; therefore, it does not play a significant role throughout the work.
What does emerge as a prominent element in this verticality is the 6/5 ic 1 dyad. This
observed in the Duet for Violin and Piano (Chapter Four) whereupon the two motivic
through the introduction that derives its origins from Mtv1. Mtv2 proves to be prevalent
throughout the entire work due to its consistent appearances and production and
frequency of its own closely related variants; therefore, it will be elevated in status and be
considered not only a variant of Mtv1, but given its own motivic label of Mtv2.
half-way through the introduction in m. 7. Paired together are the second trumpet and
trombone, the trumpet presenting three discrete pcs, with the trombone presenting four.
As depicted in figure 5.5, the pcs that align between the instrumental pair produce two
Accounting for all of the pcs in the trombone strand reveals a separate motivic
the trombone statement into two trichords (as was conducted on the opening verticality)
216
reveals two significant DIs. The first consists of the pitches B, Db, and A (pcs e, 1, and 9)
and the second of A, Db, and Eb (pcs 9, 1, and 3) thus producing two DIs of <+2, -4> and
a <+4, +2>. The first trichord presents the DI <+2, -4>, the r2 rotation of Mtv1. This DI,
<+2, -4> will be designated as the prime form of Mtv2. The second trichord, consisting of
pcs 9, 1, and 3, produce the DI <+4, +2> (as depicted in figure 5.5). This is a result of an
RI(PCI) compound manipulation subjected upon the prime form of Mtv2 (the initial
trichord).
Figure 5.5. Pc reduction: Mtv2 (introduction, mm. 7–9, trumpet II and trombone)
Mtv1:R
<-2, +/-6>
Mtv2:P
RI(PCI)
Symphony no. 3: Music by Galina Ustvolskaja
Copyright © MUSIKVERLAG HANS SIKORSKI GMBH & CO. KG
International Copyright Secured. All Rights Reserved
m.1 and the analogous presentation of Mtv2 in m. 7. Both configurations are separated
into two overlapping trichord presentations. The initial trichord in each configuration
(upper trichord in m.1) represents the prime form of the motive in focus. The
217
transformational path that surfaces between the partitioned trichord pairs in both
transformational path was a MULT(RI(PCI(r2))), while the analogous path in the original
presentation of Mtv2 was (RI(PCI)). Only two manipulations are not shared between the
two presentations, an r2 and MULT. The rotation operation (in fact, an r2) is the
(illustrated in figure 5.6). The two principal motives, Mtv1 and Mtv2, function as the
motivic foundation throughout the work. The transformations placed upon these two
additions, and intervallic contractions. These types of manipulations keep the element of
repetition close to the surface, as the original motivic identity is not obscured, while at the
same time not being simple repetitions. As depicted in the motivic chart for Symphony
no. 3, motives 1 and 2 resurface frequently in their prime forms. Their motivic variants,
as isolated in the chart, also recur consistently throughout the work (to be discussed).
Emerging from Mtv2 are three manipulated forms that participate frequently in
the motivic organization of the work during both the link and variation sections. They are
only absent during variations III and VI, whereupon the opening section is repeated. As
illustrated in figure 5.7, the subsidiary forms of Mtv2 are closely related to one another,
+2 -4 +4 +2 directed ics
Mtv2:P e 1 9 1 3
+1 -3 +3 +2 directed ics
1) e 0 9 0 2
+1 directed ics
-1 directed ics
3) 0 1 t 1 3 4
219
Each of the manipulated Mtv2 configurations contain at least five discrete pcs;
therefore, the original format of the initial presentation of Mtv2, two trichords related by
RI(PCI), is retained. The second and third variants (as indicated on figure 5.7) of the
motive are paired most consistently with one another, with the shortened first variant
omitted occasionally. All three variants of Mtv2 have been subjected to a CON
manipulation, as the ics 2 and 4 have both been reduced to ics 1 and 3. Bolded pcs in
figure 5.7 represent pcs that produce a retrograde form of Mtv1 (these are the identical
pcs presented by the second trumpet and trombone in m.7 of the introduction, illustrated
in figure 5.5).
During the passages designated as links (please refer to figure 5.2), the texture
consistently thins out and the horizontal domain becomes the focus. Isolated in figure
5.8a are the two strands that commence the passages. Although their entrances are
staggered on the score (oboe III starts two beats earlier than oboe IV), aligning the
(6) 5 3 1 3 t e 1 Ob IV
T6
(0) e 9 7 9 4 5 7 Ob III
ic 1 dyads reordered
t e 1 3 5 7 Ob II & Cb II
T6
4 5 7 9 e 1 Ob III & Cb III
Once aligned, the oboe pair reveals a pattern separated by T6, a principal intervallic
relationship in the introduction of the movement, oboe II/double bass II and oboe
III/double bass III, reveals the kinship between the passages. The two individual
configurations from the introduction have been subjected to dyad invariance and then
reordering. Only one ic-6 pair does not coincide between the two patterns: 0/6 in the
rearranged variant. Both pcs 6 and 0 fit uniformly into the pattern, however, as they
progress intervallically by ic 1 to the next pc, movement which established both of the
original configurations.
Also exhibiting a similar dyad derivative association with the opening verticality
(Mtv1) is the accompaniment figures paired with the featured spoken text. Presented in
its entirety twice throughout the work, mm. 42–49 and mm. 159–66, oboes I–IV and
trumpets I–IV each present oscillating configurations (the first instance, mm. 42–49, are
provided in the score excerpt in figure 5.9). The trumpet quartet presents ic 1 dyads
comprised of pitches Ab and A, Bb and B, C and Db, and D and Eb (pcs 8/9, t/e, 0/1, and
2/3), while the oboe quartet present ic 3 dyads, comprised of pitches G and Bb, A and C,
B and D, and Db and Fb (pcs 7/t, 9/0, e/2, and 1/4). Both ics 1 and 3 are secondary
As illustrated in figure 5.10, the pc dyads organized into ics 1 and 3 pairings are
not random selections. Each of the dyads originates as a vertical simultaneity in the
opening double bass ascent (mm. 4–6). The pcs isolated by boxes represent the ic 1
dyads, while the circled pcs isolate ic 3 dyads. The only pair not found in the opening
complex is the ic 1 dyad pairing of 2/3. This dyad is present to link the oscillating
221
configurations with the variants of Mtv2, unravelling concurrently in the lower double
basses.
Cb. I 1 3 5 7 9
Cb. II e 1 3 5 7
Cb. III 5 7 9 e 1
Cb. IV 4 6 8 t 0
Cb. V 2 4 6 8 t
pcs
organization. Throughout the work, two principal motives that share clear derivational to
each other are constantly resurfacing in their prime forms. The manipulated variants that
are produced through simple, non-compound manipulations, such as dyad isolation and
motivic origins. The complex manipulations that the earlier works, such as the Octet
exhibited are not present in this work. Repetition is not hidden, but rather brought to the
each are reduced in scope through a reduction in quantity and diversity. The principal
compositional element of repetition is now laid bare. What previously had acted as an
11
Griffiths, 264.
223
inner mechanism in her earliest style is now thrust to the surface. Whereas Symphony no.
rather than simple, unaltered repetition. Symphony no. 4 lacks this developmental
element, in regards to form, pcs, and motivic presentation. The complex manipulations
that the earlier works, such as the Octet, exhibited are not present in this work.
Symphony no. 4 premiered one year after its completion date in 1988 in
Heidelberg, Germany.12 Scored for the extremely sparse chamber ensemble of a single
trumpet, tam-tam, canto, and piano, it defies the instrumental expectations of the genre.
Once again, precise instructions are given to the performers on the title page of the work
but now with one significant detail altered: the soloist must be a woman. The third
instruction states that the “solo contralto part should be sung by a woman (without
microphone). She should wear a long black dress with long sleeves and a collar, but no
jewellery.”13 Unlike the previously discussed symphony where the male soloist was
given a microphone and provided the instructions to direct their prayers fervently to God,
the female vocalist is presented in a more subdued manner. The reason for this alteration
lies in the text. Ustvolskaya has chosen to feature the same text that she chose for
Symphony no. 3. The two different settings of the same text allow Ustvolskaya to
communicate her ideas in differing fashions, settings, and viewpoints, one female and one
male (the text is provided in figure 5.1). Given that Ustvolskaya always demands a male
12
Sikorski Catalogue, 13.
13
Galina Ustvolskaya, Symphony no. 4, (Hamburg: Musikverlag Hans Sikorski, 1999): 3.
224
vocalist for her compositions, it is striking the sole occasion a female vocalist is
The elaborate variation form that was the underlying foundation of the Octet is no
longer present in the final symphonies. Symphony no. 4 has two strands unravelling
any sort of extensive manipulations. The identities of the strands are never obscured, and
for the most part, are left unaltered. As depicted in figure 5.11, only the vocal interludes
disrupt the rounded binary structures. The principal formal units, designated as A’s in
figure 5.11, are comprised of three, six-measure subsections, based upon motivic
presentation.
Principal Motive
introduced by the trumpet and a subsidiary configuration shared between the piano hands.
The subsections, designated as “a”, contain these configurations without any alterations,
in terms of pc and ic content. The principal motive, Mtv1, presented initially by the
225
trumpet in mm. 1–6, contains the pitches A, D, and Eb (pcs 9, 2, and 3).14 Producing DI
<+5, +1>, Mtv1:P is repeated four times during the initial a section (please refer to the
At the same time as the trumpet presentation in the piano is a descending linear
configuration comprised of ics 1 and 2. The upper-hand in the piano passage performs a
descending gesture from pitches G to D (pcs 7 to 2), while the lower hand punctuates the
passage with an expansive cluster commencing on pitch E (pc 4) and concluding upon C
In isolation, the piano passage has strong diatonic tendencies, alluding to the key
of C; however, this foundation quickly loses its integrity due to the contradicting upper
trumpet strand. The function of the piano passage is twofold: to emphasis pc 2 and ics 5
and 4. Ic 5, emerging as the boundary ic of the descent from pc 7 to 2, not only shares a
pc with the trumpet 9/2 ic 5 dyad, but it is related by T5. The ic 4 that emerges as the
boundary ic of the 4/0 cluster is a referential gesture to the manipulated form of Mtv1
The a section is then repeated six measures later (mm. 12–18) with the sole
alteration being an exchange of strands (the left hand piano maintains the 4/0 cluster).
Inserted between the initial statement and first repetition is subsection b (first instance
mm. 7–12, please refer to the score excerpt in figure 5.12). This six-measure passage is
static in nature. The 4/0 cluster is continued in the lower piano and Mtv1 switches its ic 1
focus from pitches D and Eb (pcs 2 and 3) to pitches D and Db (pcs 2 and 1). Mtv1 is thus
14
Mtv1 of Symphony no. 4 closely resembles the Mtv2 variant of the second movement
of the Octet. The Mtv2 variant of the Octet was built upon pcs 9, 2, 8, producing DI <+5,
+/-6>.
226
exposed to a PCI manipulation. The b section therefore continues the motives, now in
reduced form, and foreshadows a future manipulation that will surface during the vocal
interludes.
The principal position of pc 2 is fully realized amid the second presentation of the
A section during the introduction of the voice (designated as Aˈ in figure 5.11). The voice
is inserted into the initial a subsection; however, the vocalist either speaks the text or
sings upon pc 2; therefore, the integrity of the section remains intact and the principality
of pc 2 is asserted. It is not until the vocal interlude that any deviations of significance
occur.
The material presented in the three vocal interludes (mm. 37–45, 59–67, and 74–
87) remains identical in terms of melodic content (only the text is altered). Alterations to
the third repetition are achieved through duration only, therefore pc and ic content
remains intact. The trumpet is absent in each repetition, with the vocal line featured
prominently over a static, piano chordal progression (the score excerpt is provided in
figure 5.13). The melodic content of the voice is derived directly from Mtv1 and consists
of only a small deviation. Comprised of only three discrete pitches, D, A, and Bb (pcs, 2,
9, and t), the ic 5 dyad produced by pcs 2/9 is maintained between both versions of the
motive. The small manipulation of a single partial contour inversion adjusts the initial ic
DI <-5, +1> (illustrated in figure 5.14). The motive is presented twice throughout the
nine-measure passage.
228
Mtv1:P Mtv1:PCI
+/-6 +4
pcs 9 2 3 2 9 t
+5 +1 -5 +1
Accompanying the disjunct vocal line is a piano passage directly linked to the
opening right-hand piano line, while at the same time reflecting the organization of the
upper vocal motive. Maintaining the focus on pc 2, the piano presents two stacked ic 5
dyads upon pitches D and A (pcs 2/9) and C and F (pcs 0/5). Motion beyond these pcs is
of stacked ic 5 dyads comprised of pitches Gb and Db (pcs 6/1) and Ab and Eb (pcs 8/3)
(please refer to the score excerpt in figure 5.13) The PCI manipulation that the upper
vocal line is subjected to is reflected in this progression, as the right and left hand
passages diverge from one another in terms of direction. The boundary ic of the
with both the right and left hand gestures spanning the identical distance (please refer to
figure 5.15).
230
+2 +2 directed ics
2 4 6
RH: ic 5
9 e 1
7 5 3
LH: ic 5
0 t 8
-2 -2 directed ics
The process of reduction is evident throughout the fourth Symphony. The melodic
Conclusion
style, transforming from a state of complexity to overall simplicity. In the earlier works,
its presence was hidden and laid in the inner workings of the composition. In terms of
231
form, pcs, and intervallic content, repetition was intricately woven into the structure of
repetition emerged in the shallower layers of the work, until it eventually laid bare on the
surface.
of form as the overall design of the movement is evincing a cyclic structure. The initial
three sections return in the latter portion of the movement, with little significant
motivic configurations begins to decrease. There are two motives presented in the
introduction and the manipulations placed upon them are less complex, now exhibiting a
decline in compound operations. Thus the two motives remain undisguised and constant
throughout the movement. Symphony no. 3 is scored for a relatively large ensemble,
which Ustvolskaya employs to maintain a higher level of density in the work. Unisons
between instruments are common, but contrapuntal passages still frequent the work.
Ustvolskaya’s career. Contradicting the expected participants in the symphonic genre, the
instrumental grouping. Formally, the variation stipulation does not adequately describe
the design, as development and manipulation across the sections simply are not present.
The introductory passage is repeated in succession, four times in completion. Variety and
Her compositional style is always structured upon the element of repetition, but it
is how she portrays this characteristic that defines her earlier and later works. As her style
evolves, the element of complexity disappears, baring the structure that has always been
present in the inner workings of the composition. The sonic signature that defines her
upon them, or as structural formal signifiers. Even as the texture thins out, the principal
motives isolated in the introductions are still active in both the horizontal and vertical
domains. The weight or impact of the individual pitch is felt throughout all of her
compositions. Even during moments of successive repetitions, each instance of the pitch
Similar to how she conversed and situated herself in society, as a woman of few
but very strong and impact-full words, her compositions too embody this sentiment. Her
final compositions exemplify works that are bare of superfluous decorations, and simply
state the facts. When asked by Olga Gladkova what she would wish of a future composer,
Ustvolskaya answered “to write with great talent and brevity.”15 Symphony no. 4
certainly embodies this brevity that she held in such high regard.
15
Olga Gladkova, Galina Ustvolskaya: Muzika kak navazhdenie [Galina Ustvolskaya:
Music as Obsession] (St. Petersburg: Muzyka, 1999), 34. Translated by Andrei Bakhmin,
http://ustvolskaya.org/eng/interview.php (accessed July 1, 2013).
233
Chapter Six
Conclusion
Context Revisited
All composers of the Soviet generation had to contend with extensive political
interventions. Individually, they decided how best to accept, adapt, or even contest these
interventions, not only in order to create but also to survive. Throughout Ustvolskaya’s
lifetime she would witness and experience the rise and fall of both Lenin and Stalin, the
instability of the Khrushchev thaw, and eventually the demise of the Soviet Union. Her
reserved lifestyle and introverted personality suited her environment and allowed her to
avoid the public spectacles that both Shostakovich and Prokofiev endured.1 Despite her
reclusive lifestyle the political constraints placed upon all Soviet artists would greatly
affect her creative endeavours and compositional perspective, shaping her music into
1
Boris Schwarz, Music and Musical Life in Soviet Russia, enlarged edition, 1917–1981
(Bloomington: Indiana University Press, 1983), 243.
234
currently amounting to only twenty-five works, her output is actually more extensive.
Similar to the character she infused into her compositional aesthetic, meticulousness and
publisher what works should and should not be listed. Throughout this dissertation the
works I discuss are solely works that exemplify a formalist trend, the compositions that
exhibit characteristics that were deemed inaccessible and unacceptable by the Soviet
political demands due to financial constraints and composed works that were considered
acceptable for public appreciation.2 The conformist works were placed on concert
programs relatively soon after their conception and exhibit the character and tone
encompassed in a socialist realist aesthetic; however, her reliance upon the element of
repetition as the structural foundation of the work, maintains its presence. In contrast to
capabilities and dynamics, the conformist works are generally written for conventional,
full orchestral ensembles, provide rhythmic diversity and variety, and employ a range of
dynamic levels without going to the extreme seen in the formalist works.
Symphony no. 1 (1955), a conformist work, contains a vocal line similar to the
later four symphonies, but exhibits a very different source and setting. Scored for a
traditional symphonic orchestra, the work is set in three movements and has a
2
Ustvolskaya.org, “Catalogue,” Accessed July 1, 2013.
235
performance duration of approximately thirty minutes (the later four symphonies each
present a work of fifteen minutes or less). In contrast to the religious texts of the latter
structure for the second movement, featuring children’s songs written by Italian writer
Gianni Rodari.3 The text is sung in Russian by two boy soloists, a stark contrast in tone
from the latter symphonies, which featured male soloists (with the exception of the
Not only did Ustvolskaya compose high art music under a conformist blanket for
financial and societal survival, but she also experimented with cinematic music. This was
a common activity for many Soviet composers as both Prokofiev and Shostakovich
composed extensively for this genre, creating individual songs and complete soundtracks.
During the 1950s, Ustvolskaya contributed to five film scores, including Mordovian
ASSR (1951), The Boldino Autumn (1951), Russian Museum (1954), Gogol (1954), and
The Girl and the Crocodile (1956).4 Most of the scores have been lost or destroyed by
the composer. The final film, The Girl and the Crocodile, exhibits a style that is
3
Gianni Rodari (1920–80) was an Italian children’s writer and journalist. He earned the
prestigious literary award, “Hans Christian Andersen Award” for writing in 1970. He was
quite open about his political views and was an active member of the Italian Communist
Party. The fact that Ustvolskaya had access to his stories (as censorship and restriction of
outside sources was tightly controlled) suggests strongly that the Soviets viewed his work
as acceptable. The Oxford Encyclopedia of Children’s Literature, s.v. “Rodari, Gianni”
(by Ann Lawson Lucas), www.oxfordreference.com (accessed June 3, 2013).
4
Ustvolskaya.org, “Catalogue,” Accessed July 1, 2013.
236
accessible to the public, with whimsical and melodious themes and employs harmonies
works that fall into each of her three compositional categories: formalist, conformist, and
cinematic. This decade corresponds to the end of the extreme political grasp of the
Zhdanov era (1946–52), the subsequent relaxation of the Khrushchev thaw (1953– early
1960s), and the renewed communication with the cultural currents in the United States
via an exchange with the American composers in 1958. As discussed in Chapter One, the
visiting American composers would be exposed to Ustvolskaya’s Sonata for Violin and
Piano on this visit. During this decade Ustvolskaya would compose eight of her formalist
works, six of her conformist works (three of which she would later allow to be listed in
her catalogue), and the five cinematic soundtracks. Perhaps due to health issues or simply
not viewing her works of this period acceptable to be allowed admittance into her
catalogue, no other decade would exhibit the same rate of compositional productivity.
Her final, official work, Symphony no. 5, was composed over the two-year period of
1988–90. The single-movement symphony is scored for the unique ensemble of violin,
trumpet, tuba, voice, and her self-designed percussion instrument, the cube.6 The
Symphony, subtitled, “Amen” featuring text from the Lord’s Prayer, is the only work
bestowed with an American premiere, performed in New York in 1991. This American
5
Девочка и крокодил [The Girl and the Crocodile], [n.d.], video clip, accessed July 1,
2013,YouTube, http://www.youtube.com/watch?v=weA17LiaPXk&feature=youtu.be.
6
As discussed in Chapter Five, Ustvolskaya employed the cube in both Composition no. 2
and her final, fifth Symphony.
237
appreciation.
repertoire of the late twentieth-century art music that many scholars and critics describe
concept both to define and determine, in regard to its conception and to the question of
whether it is still in effect. It encompasses a broad range of eclectic aesthetics and trends.
“it celebrates plurality, fragmentation and difference, and situates the self-contained
approach that many critics and scholars have attempted to pair with Ustvolskaya’s
“makes its statement with limited, if not fewest possible, resources, an art that eschews
General attributes that are showcased in musical compositions include passages of stasis,
As discussed in Chapter One, many of these attributes align well, at times, with a surface
7
Kenneth Gloag, Postmodernism in Music (New York: Cambridge University Press,
2012), 6.
8
Edward Strickland, Minimalism: Origins (Bloomington: Indiana University Press,
1993), 7.
9
Ibid.
238
prove, her underlying compositional aesthetic places her music outside of this definition.
repetitions of a block of sound, or a single pc, these instances do not produce the same
increase tension and propel the work forward. This occurs when the motive is subjected
theme and variation design. In her earlier works, such as the Octet, development through
repetition is present in a more intricate manner. It is difficult to detect both audibly and
visually on the score as the motivic manipulations are more extensive, commonly
involving compound operations. As her style evolves, the motivic manipulations active
during the individual variations become less complex and she introduces more extensive
surface repetitions, unvaried, and thus the process of repetition becomes more audible. In
the Duet for Violin and Piano, additional layers are added above an ostinato-type motivic
configuration. The principal motivic configuration is heard quite clearly throughout the
entire work, while the motivic variations are achieved through the addition of horizontal
layers. The later symphonies exhibit her formal design reduced to its basic components,
employing very little motivic manipulations, while still maintaining the formal skeleton
to development.
239
both align and are at odds with Ustvolskaya’s compositional design. Many elements of
tonality and her use of generic titles, but they do not fully actualize the expectations
associated with these attributes; they are decontextualized from tradition. Her moments of
tonal and modal allusions are contradicted by concurrent voices and unfilled
expectations. Her continued reliance upon ics 1 and 5 in both the horizontal and vertical
domains contributes to a sonic signature that is distinctly Ustvolskaya. The generic titles
she places on all her formalist works, such as the sonata or symphony, do not portray the
assumed attributes associated with the forms. She is adamant that all of her works,
regardless of the scope of the composition or titles bestowed upon them, should be
composer, one who avoided the public constantly throughout her career, she allowed her
music to speak the emotions that she was unable to express herself. Her extensive range
of dynamics, her meticulous control of articulations, at times harsh and pointed, and her
propensity for pushing for the extremes of instrumental capabilities, creates a soundscape
that is deeply personal. Intermittent moments of detachment do exist and serve to contrast
foundation, her approach to repetition does have some firm roots in a genre of music to
10
Galina Ustvolskaya, interview by Olga Gladkova, Audio tape (trans. Andrei Bakhmin
on Ustvolskaya.org, accessed June 4, 2013), 2000.
240
which she would surely have been accustomed. Ustvolskaya contended throughout her
career that she was unaware of composers outside of the Soviet Union, and really St.
Petersburg. Despite her seclusion from the musical community, she most likely would
have been aware and acquainted with the practice of Russian folk songs. Although the
two aesthetics demonstrate elements that are clearly in opposition to one another, the
repetition.
Repetition is a common element in popular and folk idioms; however, the Russian
use of repetition aligns well with Ustvolskaya’s approach to the element. As Margarita
Mazo discusses in her article on the music of Stravinsky,11 many Russian composers
were utilizing folk idioms in their compositions. While the article is focussed on
Stravinsky’s affinity for folk idioms and rituals, she also mentions briefly how other
elements into their designs, particularly the treatment of the repetition of a motive, or
popevka. Mazo states, “As in folk songs, their repetitions are rarely exact: a block can be
constricted in the others.”12 This treatment of repetition certainly aligns well with many
aspects of Ustvolskaya’s approach and suggests a possible foundation for her design.
11
Margarita Mazo, “Stravinsky’s ‘Les Noces’ and Russian Village Wedding Ritual,”
Journal of the American Musicological Society 43, no. 1 (Spring 1990): 99-142.
12
Ibid., 110.
241
Further investigation into Russian folk idioms and their treatment of repetition
suggests a fruitful avenue to take for future research in relation to the music of
Ustvolskaya and of other Russian composers. Possible connections between the aesthetics
organization that lays at the foundation of all of Ustvolskaya’s compositions. Now that
important element, not only as an identifying feature of her music, but also an integral
component in the propulsion of the work. Although I have pointed out that a minimalist
aesthetic does not adequately align with Ustvolskaya’s approach, studies having to do
with the rhythmic dimensions of a minimalist aesthetic could provide a platform in which
to approach this dimension. In Ustvolskaya’s works where she does employ bar lines,
such as the Octet, the time signature is constantly being altered, shifting emphasises and
rhythmic groupings. In works where bar lines are absent, such as the Duet for Violin and
13
Richard Taruskin’s work on the evolution of Russian music and the incorporation of
Russian folk idioms and motivic structure into the compositional designs of a variety of
composers provides a platform in which to situate Ustvolskaya’s work. For further
reading, please refer to: Richard Taruskin, Defining Russia Musically: Historical and
Hermeneutical Essays (New Jersey: Princeton University Press, 1997); Richard Taruskin,
“Folk Melodies in ‘The Rite of Spring’,” Journal of the American Musicological Society
33, no. 3 (Autumn 1980): 501–43.
242
Piano, she uses accents to articulate the shifting patterns. Ustvolskaya commonly
employs passages utilizing ostinato-like patterns, again manipulating the accents, shifting
the emphasis, and disrupting the integrity of the pattern through addition and deletion of
pcs. Scholars who have developed analytical approaches focused on the rhythmic domain
of twentieth-century music include John Roeder and Richard Cohn.14 These studies could
composition design.
void in analytical studies of her music. The focus of the scholarship must shift from her
her compositions, and instead delve more deeply into the inner workings that make them
unique and deserving of our attention. This study provides an avenue into her
the focal point of research. Through this focus, it becomes evident that she is more than
simply a muse to Shostakovich, but rather a strong female voice that emerged from the
14
John Roeder, “Rhythmic Process and Form in Bartok’s ‘Syncopation’,” College Music
Symposium 44 (2004): 43–57; John Roeder, “Beat-Class Modulation in Steve Reich’s
Music,” Music Theory Spectrum 25, no. 2 (Fall 2003): 275–304; Richard Cohn,
“Transpositional Combination of Beat-Class Sets in Steve Reich’s Phase-Shifting
Music,” Perspectives of New Music 30, no. 2 (Summer 1992):146–77.
243
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Hammer” [Draconian and radical: Galina Ustvol'skaja- The woman with the
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———. “Ustvolskaya in the Netherlands: The Lady with the Hammer.” Paper,
International Symposium Galina Ustvolskaya, Amsterdam, Netherlands, May 27,
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Historical Literature
Brown, Malcolm Hamrick Brown, ed. Russian and Soviet Music: Essays for Boris
Schwarz. Ann Arbor: Umi Research Press, 1984.
Edmunds, Neil, ed. Soviet Music and Society under Lenin and Stalin: The Baton and
Sickle. New York: Routledge Curzon, 2004.
Hakobian, Levon. Music of the Soviet Age 1917–1987. Stolkholm: Melos Music
Literature, 1998.
Kenez, Peter. A History of the Soviet Union from the Beginning to the End. Cambridge:
Cambridge University Press, 2006.
Krebs, Stanley D. Soviet Composers and the Development of Soviet Music. London:
George Allen and Unwin, 1970.
Lemaire, Frans C. La musique du XXe siècle en Russie et dans les anciennes républiques
soviétiques. Paris: Fayard, 1994.
Mamonova, Tatyana, ed. Women and Russia. Boston: Beacon Press, 1984.
Mazo, Margarita. “The present and the unpredictable past: Music and musical life of St.
Petersburg and Moscow since the 1960s.” International Journal of Musicology 5
(1996): 371–400.
Olkhovsky, Andrey. Music Under The Soviets: The Agony of an Art. London: Routledge
& Kegan Paul, 1955.
Pendle, Karin ed. Women and Music: A History. Bloomington: Indiana University Press,
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Schwarz, Boris. Music and Musical Life in Soviet Russia, 1917–1981. Bloomington:
Indiana University Press, 1983.
———. “Folk Melodies in ‘The Rite of Spring’.” Journal of the Musicological Society
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Zaimont, Judith Lang., ed. The Musical Woman: An International Perspective. New
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Curriculum Vitae
Education
Teaching Experience