SO by Þorkell Sigurbjörnsson – an analysis
Anna Þórhildur Gunnarsdóttir
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How does the piece SO for solo piano reflect Þorkell Sigurbjörnsson’s compositional style?
1.1. How is his gravitation towards his alleged belief in the “less is more” principle represented in his compositional techniques in SO?
1.2. How are the characteristics of his tonal and harmonic language represented in SO?
SO, composed in 1973, is very pianistic, it has cluster chords and improvisation. There is a lot of contrasts present that challenge the responsivity of the pianist, as Sigurbjörnsson jumps from soft, melodic trills to harsh chords and strong physical and rhythmic movements. The tonal range is very expansive, and the pianist moves from the lowest to highest notes on the keyboard in a few jumps. Sigurbjörnsson also explores the release of sound and the resonance of both chords and individual notes. Sigurbjörnsson never settles on one idea or technique for long and is always changing the texture of the music. SO reflects Sigurbjörnson’s “less is more” ideology very well because it has very limited thematic material that is constantly changing and presented in a new structural context. All materials of the piece are presented in the first half, then developed as the materials are constantly varied. Opposites in the music are very important, and the processing and development of the ideas. The A-minor triad [0,3,7] is a fundamental element in the piece, as well as the chords [0,2,7] in section B. The set in the first line is A= [0,1,3,5,6,7,9,11] which is symmetric around the A, but there is also a strong notion of symmetry in the piece.
The large form is some hybrid of a rondo and/or arch form (ABACBA), where Sigurbjörnsson introduces the sections and treads the same steps back. The A-sections are the densest in terms of number of elements/motifs that are presented/developed, all in a quite compact manner where everything sticks together in an almost hurried manner. Below is an overview of all materials presented in SO.
In Section A the first three elements are introduced, all connected to each other in one way or other. The elements are presented in an AABA format, A being element 1 and motif 2, and B being element 3. The terms elements and motives are used to categorize tonal material in this research. Elements are tonal materials that are merely presented and don’t develop much. Motifs are materials that underwent development and change, and therefore had a more solid role in the music.
The A-minor chords form a sort of ostinato in the bass. If the piece has no meter and the bar lines serve only the purpose of making a clear division between thematic material, there are many areas where the piece suggests a 3/4 meter, especially where the piece has a stricter rhythm (element 1 vs. motif 2). In the three and a half lines that this section covers, many different pianistic approaches are applied as can be seen in these three elements or motives. The A-minor element requires a controlled soft and even touch, the motif 2 requires a sharp, playful touch and tone as well as sensitivity to the intervals and appoggiaturas. Element 3 is challenging in execution as the LH jumps between octaves while the RH lies directly on top of it playing the octaves. This tight manner of layering and playing reminds of the first part of Béla Bartók’s Suite op. 16, where the hands play frequently directly on top of each other. Table 2, below, contains the analysis of section A, including element 1, motif 2 and element 3.
In motif 4 there is a passage with many accents that result in a strong rhythm. There is also hidden polyphony there since the primary voice is notated in the RH whereas the accompaniment (motif 4) is in the LH. This three-measure fragment breaks up motif 4 with its distinct build-up and powerful accents.
Between section B and section C there is section A1 which is based around the A-minor triad. The layering is very dense: All the thematic materials of the piece are presented in these five lines. In line 9, motif 2 (based on B) is presented on top of element 1 (A-minor chord), so the tonal centres of the two materials makes a major 2nd (A and B) (see fig. 9). This is different from the beginning of the piece (line 1 and 4) where the tonal centres of element 1 and motif 2 make a minor 2nd (A and A-flat) (see fig. 10).
Rhythm plays a really important role in SO. In many important places in the piece, such as section breaks, transitions or where new material is introduced; the rhythm long – long – short appears. The values of this rhythmic pattern vary, but the ratio is the same (see rhythm section in Table 3).
Section C presents motif 7. In terms of pianistic techniques crossing of hands is prominent and maintaining the individuality of the voices while simultaneously making them interact and respond with each other. Once again contrasts play an important role. There’s the melodic motif 7 slowly making its way over the circle of fifths, abruptly interrupted by element 6 and its explosive [0,5,7] chords (see fig. 13).
The main theme consists of A-flat, B-flat, and E-flat [0,5,7], akin to motif 4. The tonal centres move from E-flat to B-flat, C and then F. The soft manner of playing and the trills create a completely different tonal environment for this established pattern [0,5,7]. Which is then abruptly interrupted by a C# chord in RH [0,5,7], based on element 6. The “chord progression” this section is: F (measure before) – C#/C – A.
In the last two measures before the return of the B-section, Section C and Section B connect with a momentary return of the A-minor/A-flat relations, that are very notable in section A. This section has a polyphonic layering with three individual voices: trill, LH-movement, and RH-movement. There is also a canon between the voices. This is not strictly throughout the entire section, but rather in certain places. Note that both staffs in the picture below are in the G-clef.
Motif 7 sticks to a 3/4 measure, an organization in the chaos and is very horizontal and melodic. Then element 6 bursts in with its totally different rhythm. In line 15, the broken C# [0,5,7] chord, forms the following pattern:
In line 16, element 6 made up this pattern. It’s like a diminished version of the pattern above, the crotchets become quavers and a semiquaver note value is removed.
In section B1 motif 4 returns, but upside down or mirrored, what was in RH before is now in the LH and vice versa. The chords have also been flipped so that they are now ascending instead of descending, driving the piece to its climax in A2. There is a change in line 18, where B1 deviates from B, making the tonal centres go a different path than before. The ending of B1 is like an expansion of B, and the accents that are derived from the repeated strong rhythm fragment are enhanced.
Like in section B, in section B1 Sigurbjörnsson touches on all the 12 tones with the [0,2,7] chords, except much faster than before. In section B, the twelve tones are spread over the entire section and here the motif is given more space and goes through the twelve tones twice. The sequence is as follows (not counting repeated chords): E-flat, A, F, B, C, C-sharp, G, D, A-flat, G-flat, E. He finishes the sequence just as the “antecedent” of the section finishes. In the “consequent” the sequence is: D-flat, B, A, F-sharp, E, B-flat, A-flat, G, D, C, E-flat, again finishing neatly as this section ends. This isn’t strict serialism because these sequences aren’t doesn’t developed any further and no special twelve-tone techniques are applied. Rather this is a means to enrich the harmonic palette. The chords of motif 4 are now made up of [0,2,7], instead of [0,5,7] like in section B (see fig. 21-22).
The layering incorporates elements from motif 2 in the right hand with the appoggiaturas in the [0,2,7] chords.
B1 is very similar to B when it comes to the rhythm. In motif 4 there is a passage with many accents that result in a strong rhythm. There is also hidden polyphony since the primary voice is notated in the RH whereas the accompaniment (motif 4) is in the LH. A percussive approach to the instrument with a straightforward touch. Sigurbjörnsson also plays with the percussive sound of different registers.
Base notes of chords in line 21 in element 5. Here you can see inversion and symmetry, the LH being a beat behind the RH. The chord progression in RH is: [0(A), 6, 4, 8, 9, 10]. The LH chord progression is: [0(A), 6, 8, 4, 3, 2].
The cadenza builds up slowly and in a very steady crescendo. The up and down triad motion is repeated 7 times in total, getting faster, stronger, and wilder as the pianist improvises more and more, ending in furioso clusters in a full pedal that create a massive sound which is let hang in the air. Sigurbjörnsson jumps all over the keyboard, layering these accelerating triads, creating a very dense and massive soundscape. The cadenza has a very improvisational feel to it, as Sigurbjörnsson notes “irregular quarter notes”. The semiquavers are accentuated with a sf but keeping the crotchets piano. Line 26 is a passage that is repeated in an accelerando and eventually turns into improvisation which leads up to a cascade of cluster chords in line 27.
The Coda offers the music the space to breathe in a sense, as only first elements are used and the ideas are spread out, so that the music has an atmospheric and improvisational feeling to it. Element 1 is centred around A, and the other notes in this area are symmetrical around A (0): [1, 5, 6, 11]. In line 30 Sigurbjörnsson harmonises motif 2 and fragments the motif, placing the chords in different octaves. The harmonisation is quite simple since Sigurbjörnsson simply makes a triad up from each note. This is clearly inspired by the triads of element 1. This is how Sigurbjörnsson connects his thematic materials and reuses the materials without repeating himself.
The layering is more horizontal than previously. Here element 1 is given the chance to spread out and developed in a way. Sigurbjörnsson also adds extra notes (1, 5, 6 and 11) that serve as ornamentation on the A-minor triad [0,3,7]. Very steady pulse throughout, as element 1 drones on. One might call it a “sound study”. Sigurbjörnsson lays the a-minor chords gently, whilst plucking the octaves in the RH. The pianist has to “open” their ears as much as they can, and delicately feel the keys under their fingers, for each note to blend well and flow into one another. Exploration of the sonorities of element 1 and motif 2. The movements of RH and LH in element 1 (line 28-29) are symmetrical, when the LH does down a P4 [1,6] the RH goes up a P4 [5, 11].