|
Montage (1977) |
For orchestra - c. 23'
Montage describes the way in which apparently disparate elements are joined together to form a consecutive whole. Its special application relates to film editing. In translating the notion into musical terms I have tried to sustain the essential meaning of the word by presenting all the elements of the piece – at first in isolation – before drawing them together in the complex form which represents the montage at the close. The work is essentially abstract in its make-up – abstract in the sense that its form is dominated by textures and orchestral colours rather than by any extra-musical or philosophical motivations. There are three main sections: introduction; development (sub-divided into three sections); and a climactic section incorporating the substance of the entire work. Twelve elements are used, each one first heard at the opening with sforzando chords punctuating the presentation of the material. The motifs are sparked off like light catching a prism at various angles. A prism can be thought of as a microcosm of the larger universe containing the organic nucleus of the whole. The twelve chords sustain this kind of function, the harmonic framework of the piece being firmly established by their explosive rendering. The significance of the number twelve should not be exaggerated. Serial techniques play no part in formulating the material. The whole gamut of pitch relationships is embraced by the use of the complete chromatic range in the harmonic and intervallic structure. Within these terms of reference the development of ideas is often very flexible in presentation, either by special notation (notes undefined by beat or measure) or rhythmic inflection. Each of the twelve elements is clearly defined in its initial presentation. Subsequently they are developed in combinations of four characteristics, so that the central development section takes on a ternary design. The first part is breathless and frenetic in its jagged explosions of texture. Constantly shifting harmonic relationships create a restless characterisation, interweaving the extended versions of each fragment in a revolving web of sound. The second part is more static, without any sudden changes or explosions of colour. Cascading solos and soft, shimmering textures establish the only extended calm music in the entire work. With the opening of the third part the evolution of the harmonic framework reaches a centre point. An outburst of percussion presents a cluster of sound over the whole chromatic range. Figurations shoot out from this harsh and dense chord, giving a turn to the kaleidoscope of colour at each change. The four elements here are developed in such a way that statements are overlaid, inverted and reversed in order. So far all the individual sections have been based on a variable ostinato of twelve chords, not unlike the passacaglia structure of the Finale of Brahms’s Fourth Symphony. This is not too extreme a comparison. Although today we may not consider ostinato in the same terms as Sibelius thought of it, the static structure of a repetitive chord sequence is by no means foreign to Boulez and Berio. The guidelines are simply less obvious. With the presentation of the final ‘montage’ such guidelines are dismissed. Here all the twelve elements are drawn together consecutively to create the final picture. There is no separation, so that the montage rises organically from the last of the twelve sub-sections in a final climactic movement. The graphic substance of the score varies from quite conventional bar measures to something approaching improvisatory characteristics. The conductor is often required to direct several different elements occurring at the same time – which calls for unconventional conducting techniques. Some of the players, too, have a conducting role to play in sections where the music takes on several different tempi and textures at the same time. In sections where various groups in the orchestra diverge, the leading player of each group provides the beat. In this way, Montage sees the orchestra as a unit of corporate responsibility in interpretation.
© Edwin Roxburgh