Górecki | Tavener
Two of the main composers that come to mind when Sacred Minimalism is mentioned, I have selected two pieces from these composers to serve as an introduction to a different but similar pallette of these composers of different backgrounds but with a similar storytelling. The reason why I chose these two is very simple, I was deeply moved and decided to learn what was underneath. To my surprise, it was a very similar approach to Pärt's music. Going back in time for other influences, folk music, simple structures, mirror images, canon and more, they have also managed create obscured intricate works.
One other reason for me to choose both these composers was that they are both coming from a more avantgarde background, shifting towards minimalism in the middle of their careers to realise their true voice in composing. This has been highly influential in this thesis. The strict structuring of serialism, rules of 20th century, chromatic approaches are still in their music, yet in a very refined and purposeful way. I belive these compositions will unlock different routes and approaches for composers and improvisers.
Symphony No.3 (Symphony of Sorrowful Songs) (1976)
Henryk Mikolaj Górecki
for soprano solo and orchestra
This is one of the two non Arvo Pärt compositions analysed in this research and that has a personal reason. I had the same feeling and connection while listening to certain Pärt pieces, The Lamb by John Tavener, Olivier Messiaen's O Sacrum Convivium and many other pieces of music where I felt profound feelings of mixed emotions. I was deeply moved by the simple yet deep elements, story telling and a beautiful journey. Also, as I mentioned in the Prologue, these discoveries happened while I was transitioning from the information heavy and systematically structured music of the 20th and 21st century where I was restless and I found solitude and peace in this music. This work is also indicative of the transition between Górecki's earlier dissonant style and his later more tonal style, similar to Pärt, and represented a stylistic breakthrough. Serene, emotional, ever growing and almost medieval/ folkish sounding qualities are the keywords of this piece.
Consists of 3 movements, the first one is a very classic example of a canon. Starting with a phrase of 24 bars with the double basses in E minor(aeolian), the theme keeps adding on top of each other until it is in 8 parts. The additions always start a perfect 5th above, creating a polymodal structure. When the 8-part harmony is achieved, the instruments start dropping out one from lowest and one from the highest, leaving only the 2nd violins and Violas, in D Mixolydian. A very good example of the Minimalistic school of composition, creates a beautiful structure and harmony based only on one theme that repeats itself in perfect 5ths, ever growing and evolving. The usage of orchestra to its full potential also enhances the space and quality of the space which I believe is very adaptable into an improvised music framework as a background and creating worlds other than improvise over.
The piece combines simple harmony, opening with an introduction of the theme, with dissonances, created from the mirrored version of the theme. The variations of a single theme is dominant throughout the piece, which is a common element in both Minimalism and Serialism. The music in bars 1-2 is expanded upon and used throughout the rest of the piece, serving as a backbone.
In the first bar, a tonally-ambiguous melody in either G major or E minor is sung by the sopranos. The altos enter in the second bar with an exact inversion, or mirror image which we have seen frequently used in Pärt's music as well, of the soprano's melody in bar 1. This approach is one of the key elements of 12-tone music and serialism. This inversion results in an unexpected and unconventional harmony interlocking melodic lines resulting in chromatic harmony, and bitonality between E-flat major and G major.
The soprano line in bar 3 utilises notes from the alto and soprano parts from the previous two bars and bar 4 is a retrograde of bar 3, creating the foundation of the piece. These 2 bars actually inspired me to create my own variations in my own themes, which I use them as almost like Lego blocks to create compositions and frameworks for improvisation.
And the final bars of the A section also consist of notes from the previous melody, while the soprano line is a retrograde between themselves, Alto section also sings a retrograde melody. This melody is an inversion of the Soprano line, and by just looking at the notation we can see the beautiful symmetry. This is great example of how harmonising with tools from Serialism could be used.
Bars 7-10 are a B section in a clear E minorand feature all voices singing homophonically in more conventional aeolian harmony, creating a beautiful contrast with the previous chromatic and slightly dissonant textures. The B section is almost like a very short chorale, invoking serenity with only few bars, acting as a punctuation. The B section is also a great example of augmentation of rhythms, getting slower towards the end of the phrases, creating a lingering feeling.
In the second repetation of section A, the trajectory remains the same only alterations being how he orchestrates the voices. In bar 12-13, 4 sections sing in unison, in two octaves, the opening theme. In bar 14-15 the same principal continues, still singing in two octaves. When the inversion of the bar 14-15 enters in bar 16-17 in Alto and Bass section, creates a very strong harmonic motion. An elevated version of what happens bars 5-6, only through orchestration and dynamics. A very good example of reusing the material, altering it with the means in hand, without changing the main structure.
The Lamb (1982)
John Tavener
for SATB choir
Composed in 1982 for unaccompanied SATB choir, the music has a minimalistic style and combines chromaticism with more conventional harmony. The main reason behind analysing this piece was the strong serialist and 20th century compostional techniques behind it. Yet somehow John Tavener made it possible to combine with Minimalistic elements, creaeting a unique composition which became part of choir repertoire worldwide.
Miniature V-VI
Growing Pile of Peculiar Objects, 2024
The 5th and 6th Miniature from a collection of 10, these two are based on a simple theme where I meditated on to create more variations. The inspiration has been from both of the composers mentioned above. Trying their approach to a limited material, overlapping sections and variations, I have came up with my own interpretation of expansions of a single idea Letting the improvisers alter them with their personal approach, each got a set of variations from the original version. In the Miniature VI, the guitar and vibraphone has harmonies based on this core theme, creating a background for the rest of the band. The recording is from a live performance at Royal Conservatoire Den Haag, 2024.
An overview of the modality/tonality of the sections based on the interval that they enter:
- Aeolian on E (double basses, 2nd part)
- Phrygian on B (double basses, 1st part)
- Locrian on F♯ (cellos, 2nd part)
- Lydian on C (cellos, 1st part)
- Ionian on G (violas, 2nd part)
- Mixolydian on D (violas, 1st part)
- Dorian on A (2nd violins, 2nd part)
- Aeolian on E (1st violins, 2nd part)
