Souvenirs du vent : pour soprano et orchestre de chambre = for soprano and chamber for orchestra

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•

• Souvenirs du vent

Paul Frehner Department of Them)'

McGIlI University, Montreal

July, 1997

A thesis submitted in partial fulfillmentof therequirements of the degrec of Mastcr of Music.

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•

Abstract

Souvenirs du vent is a composition for soprano and chamber orchestra with a duration of

approximately 16'.30". The piece consists of three movements, a prelude, two interludes and

a postlude. The poems set in the three movements were chosen for their similar subject

matter. the wiod. This common subject is emphasized by a music in which both thelarge~

scale and small-scale formai divisions are blurred through structural counterpoint. The poets

of the three poems are ail from the Montreal area; they are: Emile Nelligan, Claude Brouillé

and Rémi-Paul Forgues.

Résumé

Souvenirs du vent est une composition pour soprano et orchestre de chambre ayant une

durée approximative de 16'.30". Cette pièce comprend trois mouvements, un prélude, deux

interludes, et une postlude. Les trois poèmes utilisés ont été choisis pour leur sujet commun,

le vent. Ce sujet a suggéré une musique dans laquelle les divisions structurelles sont

fusionées par un contrepoint structural. Les auteurs de ces poèmes sont tous Montréalais; ils

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li

Acknowledgments

1 would like to express my gratitude to the fol1owing people: Professar Brian Chcrney

for his advice andhonesty~Denys Bouliane. Annette Betanski and the McGiIl Contemporaty Chamber Orchestra for the preparation and premier ofSouvenirs du venl which look place on

the eighth of April, 1997; Jonathan Harvey for his consultation during the composition of the

second movement of my thesis; the Canada Coundl of the Arts and the Dartington

International Summer School for financial assistance in travelling to England ta

studywithJonathan Harvey al Dartington; my wiCe Susanne for her unconditional support and encouragement. and bath of our families whose presence was feh every step of the way.

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Vent 32 Interlude #2 46 L'aube 48 Postlude 56 Analysis 58

Poctry and the vocal HDe 58

Fonnal structure and Ouralion 63

Appendix: Poems 95

Bibliography 98

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iv

Introduction

Souvenirs du ventis a composition for soprano. Cive woodwinds. three brass. two percussionists, piano and five strings. The piece consists of three movements, a prélude, two

interludes, and a postlude. The poems used in the tbree movements are. in arder of

appearance, the following: Le Vent, le vent triste de l'aulOmne. by Emile Nelligan; Vent,by Claude Brouillé. andL'aube. by Rémi-Paul Forgues. AU three paets are originally from

Montreal. The title translates ioto English as 'Memanes of the Wind.' Sinee rnemory plays

a vital role in this composition and at ail levels in the musical experience in general.it will

be briefly discussed.

Much psychological research ioto memory has been conducted in rceeolyeaTs. Through experiments psychologisls have learned a great deal about both the accuracy and unreliability

of human memory. The following are two examples of such experiments on human memory:

"In one sludy...sludents viewed 612 colorcd pictures on slides. Then piclures thal had been shown were paired with others that had not been presenled, and the students were asked 10 identify which ones they had seen. Immedialely after the original slide show. recognition was 96.7 percent, and even afler four months, it was slill better Ihan SO percent...

ln anothcr sludy, rcsearchers slllged a bogus 'assault' on a college professor in full view ofhis 141 sludents. Seven weeks Inler the sludents were asked to pick out the assailanl from a grOup of six photographs...sixty percent of the students. including the professer himself. picked the ....Tong man.!"

Infonnation processing theorists agree that encoding, storage and retrieval arc the basic

processes of human rnemmy.2 When infonnation is encoded it is transfonned into a forro

quite different from the stimulus. one that can be stored and retrieved. Theorists are divided

1. Tavris. CIl/'OIam!Wade. Carole.PlycholofY(111l1'p1:l'am!Row, l'ublis.hen New YOIlo:., 19117), p.254. 2. Ta\TIsllllll Wade, p. 256.

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v on how the processes of storagc and retrieval take place. According to the "Ievels of

processing" model ofmemory. the storagc and eventual retention afa memaI)' depend on

how deeply and elaborately the infonnation has becn processed.J

In Souvenirs du l'cnt the three poems are treated within a global theme ofmemory. That

is to say. the nuances of memory. rangiog from the most accurate but still slightly altered,

due to the encoding process, to the mast obscure. are explored through various musical

parameters 5uch as the setting of the poems, the vocal Iioe and Corm. Forexample.in the first movement the poem Le Venl, le vent Ir;ste de l'automne is set in its entirety; however,

ilSIinearity is ir.terrupted as fragments from L'aube, which is set in the third movement, are

interpolated iotailSCabric. On the other hand, the poem Vent, which is used in the second

movement, is set without interruption. In the third movement the poemL'aubeis not Înterrupted by other material. Instead, ils linearity is disrupted by its incompleteness, for the

excerpts which appear in the first movement do not reappear here. The voice expresses, at

times, the obscure quality of memory through ils treatment as an instrument of the charnber

orchestra, as opposed ta ils occupying a traditional soloistic raie. This is accomplished

through melismatic writing, relatively thick orchestmtion, and instrumental doublings of the

vocal lioe. As a result, the text in this context is often obscured. Moments of utmost cJanty

are achicved through a sparse orchestration, syllabic writiog and evcn sprcchstimmc.

Large-scale and small-scaie fOJTl1al divisions throughout the composition are blurred through

structural counterpoint, that is, the overlapping of fOJTl1al sections. For example, the first

movement consists of six sections, five of which overlap each other, thus resulting in a

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vi

counterpoint of fonnal strata. On the other band, the third movcment consists of a

through-composed layer of music, resulting in a clearly defined fonnal division within ils own

context. However. bath the structural dOMlbeat ofthis movement anditscoding are overlappedby Interlude #2 and the Post/ude, respectively.

In Souvenirs du vent the above parameters combine but3resynchronized50as not

to land together on structural downbeats, resu1ting in a parametrical counterpoint. For

example, while the poemVentis set without interruption,ilSlinearity is offset by structural counterpoint within the movement. Thus, while one parameter is presented with clarity.

another is being blurred or is somewhat out of rocus. The intention is to create the

impression of a memory in which part of an object or event is glimpscd. yet never seen with

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Paul Frehner

Souvenirs du vent

pour soprano et orchestre de chambre

for soprano and chamber orchestra

duration: 16'30"

poèmes par/poems

by Emile Nelligan, Claude Brouillé et/and

Rémi-Paul Forgues

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Instrumentation

alto flute/piccolo

oboelEngIish hom

B b clarinetlE b clarinet

B b clarinctlbass-c1arinet

bassoon/contra-bassoon

F hom

trumpet

trombone

percussion: two players

metal chi mes

suspended cym bal

crotales

tam-tams 36" 60"

Korean gong 8"

three nipple gings: high, medium, low

claves

glockenspiel

xylophone

vibraphone

marimba

two congas: high, low

tenor drum

bass drum

timpani 25" or 26"

piano

violin 1

violin II

viola

cello

double-bass

The score is notated in C, however, the piccolo, contra-bassoon, crotales, glockenspiel, and

double-bass are notated in their usual transpositions.

Permission to use

Vent by Claude Brouillé has been granted by Jean-Pierre Brouillé.

Permission to use

L'al/be by Rémi-Paul Forgues has been granted by Groupe Ville-Marie

Littérature.

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Souvenirs du vent : pour soprano et orchestre de chambre = for soprano and chamber for orchestra

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