A set-theoretical/formal analysis of Richard Rodney Bennett’s Scena III (1977)

for solo clarinet

…Then shall I turn my face, and hear one bird

sing terribly in the lost lands…

E.E. Cummings

1

Introduction

Bennett’s Scena III is a comparatively extensive work (8¼ minutes) that contains

numerous thematic ideas, but seems almost dominated at times by its opening

intervallic theme outlining a minor third. If one considers the text on which this

piece is based1, the opening (5-4) theme is particularly symbolic as it implies a kind

of ‘bird-song’ (fig. a); it also contributes to reinforce the text’s message of ‘one bird’.2 Figure a

One of most noticeable qualities of Bennett’s clarinet piece is its almost

improvisatory quality. The musical substance seems to obtain increasing dimensions

and therefore its structure could be best described as an ‘evolving’ one. A prominent

example of this can be seen on the first page (fig. b) where Bennett places diminuted

prefixes/suffixes of musical fragments around the principal ‘bird-song’ theme.3 Figure b

1 See quote by E.E. Cummings on the previous page. 2 Although one may argue there are elements in this piece where the symbolism extends to a flock of birds calling each other - such as the start of Doppio movimento section where contrasting registers and dynamics reinforce this possibility. 3 Upon closer analysis, this feature reveals itself not so much an arbitrary choice as it is an intricate methodology (see the next section).

2

Bennett’s work is continuous but can be subdivided in to five or six fundamental

sections, partitioned clearly by double-bar lines. However, in essence, Bennett’s

`formal structure is merely an elaborate ternary-form.4 In some respects, each

section has its own formal pattern – or method of working - and, where relevant, I

will address these. Owing to the absence of bar numbers and the natural evolving

nature of this work, I have adopted a chronological approach to analysis using page

and system numbers as references.

Although from some perspectives, a pc-set analysis has highlighted features that

were not apparent from a formal analysis, it has not always been necessary to

understand these relationships to see how this piece actually works. For instance, the

Forte reference that identifies the ‘bird theme’ does not need its label for one to

identify it and note its existence. Due to the length, depth and complexity of this

piece, pc-set analysis has provided answers to and sought new interpretative ideas in

situations where formal analysis may have failed.

4 Of course, in reality this is a naïve interpretation of its formal units, but is a useful generalisation.

3

Appassionato (p. 8 and 9 of the score)

The primary thematic material (5-4) is stated in this opening phrase. The opening

tones of ‘B’ and ‘D’ prove fundamental – not only throughout this section and at the

end5 - but also in other gestures made during the course of the piece which identify

with this. The minor-third usage is particularly prominent, as is the fast alternation

of these notes, notated rhythmically as an acceleration. Bennett is almost fastidious

in connecting the ‘B’ and ‘D’ as the primary units of the ‘bird-song’, and refuses to

use transposing techniques in this section.

In the introduction, I highlighted the manner in which the musical substance obtains

increasing dimensions and one can clearly illustrate this concept by analysing the

first two pages. It is noticeable that Bennett’s opening ‘bird-song’ (5-4) theme is

repeated a number of times through the course of this section; with each succession

prefixed with a more elaborate rhythm and melodic notion. However, these prefixes

are interesting in that they reveal more than can be audibly appreciated.

For instance, the (6-Z36) in system 2 (fig. c) contains pitch content that is

complimentary to the (5-4) theme, excluding only the note ‘C’. Nevertheless, after

the second hearing of the (5-4) theme, the note absent from the previous

complimentary set (‘C’) is the first to be found in the next seven note prefix (system

3).

5 Compare this with the final movement (Molto Tranquillo) and notice how these restatements of the notes ‘B’ and ‘D’ permeate the surrounding elements.

4

Figure c

From the seven-note prefix at the end of system 3 (last line shown above which uses

sets 3-5 and 5-1) - combined with the reiteration of the (5-4) theme and the

conclusive (5-1) set - all 12 semitones are in evidence (shown in green in fig. d).

From the end of system 5, set (4-11) is repeated twice (although with new notes) and

along with set (3-3) which makes gestures to the opening, Bennett has utilised ten of

twelve pitches (missing only the pitches D# and F#). The next ‘deemed’ phrase,

which uses sets (4-13), (4-1) and (4-13), includes all twelve pitch-classes.

5

Figure d

green denotes complete 12 pitch set blue denotes partially complete 12 pitch set

The next phrase is complete, albeit the G#. It starts with the set 4-5 (last set shown

above) and is followed by sets 4-18, 4-13, and 4-1 (fig. e). The next three phrases

also conform to a twelve-pitch specification. The last phrase (fig. e) is a nine-note

set, missing the notes D#, F# and G. These absentees remain, initially, inexplicable

– however, when these pitches are arranged in their prime form they reveal the set

(3-3). And the motif that commences the following movement uses this particular set

(3-3), despite using differing pitches.

Throughout this section, Bennett frequently places i.c.1 and 2 at their dissonant

extremes by positioning them as compound intervals, (this is later brought to

fruition in the sostenuto poco a poco agitato). The notes ‘B’ and ‘D’ continue to

permeate and make gestures toward the bird-song theme, despite the frantic

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hemidemisemiquavers that are juxtaposed. Figure e

7

If one compare the fifth system of page 8 of the score (fig. f) with the fourth system

on page 9 of the score (fig. g), one will notice that they both follow the same path of

pitches:

Figure f

Figure g

8

Doppio movimento, molto agitato (pages 10 and 11)

This section continues the fundamental ‘evolutionary’ concept further. Notice, in

particular, the way each phrase grows from the primary motivic cell of this section:

Interval classes (i.c.) 1and 2 are also in evidence. These extreme ‘dissonances’ are

often set apart by the octave and are matched in their extremity of pitch by

equivalent dynamic contrasts. One might attribute these contrasting dynamics and

changes in registers as a wider chorus of bird-calls.

There are numerous recurring cardinalities such as: (3-1), (4-1), (4-13), (4-Z15), and

(5-19), however, these seem conscious efforts rather than arbitrary coincidences

because the rhythmic unity and pitch content seem connected to certain sets. For

instance, with cardinal number of 5, often, the set utilised here will be (5-19) in a

quintuplet rhythm (fig. h). And the set (3-1) utilises almost exclusively the rhythm

of primary motivic cell:

Figure h

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Interestingly, it is in this section that the most z-related hexachords are found:

(6-Z3/6-Z36), (6-Z4) and 6-Z49)6. Although comparison between these sets reveal

nothing upon hearing, and are not reducible to the same prime form, they share

matching interval content which is interesting from a mathematical/statistical

standpoint – particularly since they occur within such a close proximity.

(6-Z3) 0,1,2,3,5,6 433221

(6-Z36) 0,1,2,3,4,7

(6-Z4) 0,1,2,4,5,6 432321

(6-Z49) 0,1,3,4,7,9

Predominantly, Bennett emphasises three note references in this section – none of

which recalls gestures to the (5-4) ‘bird-song’ theme with any great authority, but

prove later to be significant. The first two notes occur at the top of page 11(of the

score) where Bennett repeats the notes ‘D’ and later still, ‘Eb’ with quintuplets, and

finally the ‘Gb’ on the fourth system. These seemingly arbitrary choices are, in fact,

augmentations of the primary motivic cell: (which, in the first occurrence, is the set

(3-3). Notice also how the pitch content is maintained. Gesture outlining the D-B ‘bird-song’ call

Throughout the entire piece, such uniformity is significant – not only in the use of

quintuplets (which are always a special occurrence) – but also the recurrence of pitch

6 The compliment of sets (6-Z4) and (6-Z49) is (6-Z37) and (6-Z28) respectively. Both of these compliments never occur in Scena III.

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properties reveals a deliberate methodology. Towards the end of page 11 (of the

score), Bennett retraces the same pitches as those towards the end of the first system

on page 10 (fig. i). This follows a similar initiative as in the opening, although it is

not possible to hear the significance of this correlation.

Figure i

Retracing of pitch sequence

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Sostenuto, poco a poco agitato and Liberamente (page 12/13)

This ‘movement’ represents the expected ‘slow’ part of the work. The abundance of

pitch class (3-1) is particularly prominent, as is the recurring ‘E-F’ interval,

frequently stated in its original register.7 However, the significance of this might be

attributed as a retracing of the final notes of the initial (5-4) theme:

B D E F Eb

It is in this section of the work (fig. j) that the (melodic) dissonant count is at its

highest with recurrent properties of i.c. 1. The tessitura is extensive and regularly

varied.

Figure j

7 The importance of the note ‘E’ is emphasised by the concluding of the previous movement on this note.

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The liberamente (fig. k) demonstrates the potential for the return of the initial (5-4)

‘bird-theme’ with its outlining melodic contour of the ‘minor third’ (firstly with the

notes: ‘Bb’ and ‘G’, followed by: ‘Eb’ and ‘Gb’), supported by its correlation in

rhythm. However, Bennett uses these notes merely as suggestive, reminiscent ‘calls’

before the ‘B’ and ‘D’ alternation of the bird’s call which follows confirms our

suspicions with its return.

Figure k

The remaining material of the sostenuto (fig. l) (prior to the con fuoco) shows a

continuation of the fundamental ‘E’ – ‘F’ intervallic relationship that started off this

section. This ‘recalling’ of events or features is now a common trait in this work. Figure l

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Con fuoco (p.13)

The con fuoco (fig. m) is an extensive section that continues the fundamental

‘evolving’ characteristic, as well as demonstrating two gestures previously

illustrated: The first being the outlining and ‘working’ of the ‘minor third’; and the

second, the setting of the property of i.c. 1 across the octave. It is also the only part

of the work that employs bar-lines. The initial (4-13) set of eight semiquavers states

the primary motivic source (re-emphasising the ‘minor third’), and, as before, gains

dimensions with each succession. Notice also the manner in which pitch content

(whether utilising (4-13) or any other set) is organised in a ‘minor third’

configuration. The quintuplets repetitions, incidentally, establish a new tonal

reference prior to a successive ‘minor third’ outline. Figure m

At the top of page 14 (of the score), the frequency of i.c. 1 is considerable and

regularly placed as compound intervals. There are four occurrences of the set (8-13)

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- and despite using different pitch properties – the gestures made at the start of these

phrases (i.e. i.c. 1 compound intervals) establishes their significance and cohesively

structures the piece.

The brillante section (at the bottom of page 14 of the score) recapitulates (almost

exactly) the start of the con fuoco (fig. m) by using the primary motivic cell and its

rhythmic sequence in a similar manner (via its increasing dimensions). The sets,

generally, are different; however, some correlations are to be found – although these

are not at all surprising considering its position (ref. recapitulation-like).

Tempo I (page 16)

Tempo I (fig. n) recalls the (5-4) ‘bird-theme’ using the notes ‘C’ and ‘E’ as its

alternating pivots, and not the notes ‘B’ and ‘D’ as previous (fig. o) The theme only

appears twice (although there is reminiscence at the top of page 17 (of the score),

during the hexachord set (6-Z42), juxtaposed with passage-work. The sets and the

rhythmic/melodic material reveal little similarity with the opening suitable for

comparative examination, except its common increasing dimensions.

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Figure n

Molto tranquillo (p 17)

The juxtaposing of sustained medium-high ranged notes between quicker groups is

a significant observance (fig. o). But more importantly, the length and pitch of the

notes: ‘D’ and ‘B’ pervade their surrounding elements for structural reasons; since

they represent the ‘bird-theme’s’ initial call – the foundation for this work.

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Figure o

The hexachords (6-Z3) and (6-Z36) occur as intermediate sets between these

descriptive calls.8 It is plausible that Bennett had selected ‘B’ as the primary tonal

centre since the unifying (5-4) theme utilises this reference and the final note pauses

on this note also. Moreover, throughout this final section, Bennett evokes the first

two notes of the now, distant, call.

Conclusion

Although the work is primarily based on the (5-4) theme around B/D; all

movements have their own individual tonal reference. For instance, the opening

Appassionato primary concern was with the notes ‘B’ and ‘D’ (although towards the

8 Despite showing some similarity in pitch and rhythmic properties they are, in fact, complimentary sets.

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end this was not the case). The next section (Doppio movimento) continued from the

‘D’ with a short motif (comprising D, Eb, and F), which was later augmented as

further references. However, it then concluded the movement on the note E. The

Sostenuto then made emphatic statements with the intervallic relationship of ‘E-F’, as

compound intervals. The con fuoco, initially, favoured the note G, and occasionally

reiterated the original motivic/melodic arrangement; but the brillante had a

partiality for the note ‘Gb/F#’. Thus, these six notes show Bennett’s formal plan

demonstrating an expansion of the hexachord: (6-Z36).

D B Eb E F Gb

4, 7, 3, 2, 1, 0

0 1 2 3 4 7 = (6-Z36)

This hexachord is one of the first prefixes to the ‘bird-theme’ on the first page, but it

also occurs reasonably frequently during the course of the piece. This ‘bird-theme’

demonstrates the nucleus of the work (or localised scale plan) that Bennett augments

on a structural scale. Of all the hexachords, (6-Z36) reveals itself as the strongest

referential set in the set complex (see following page) and possibly substantiates that

this is a nexus set for the structure as a whole.

As to whether the (5-4) ‘bird-theme’ is the primary set, or whether joint with the (6-

Z36) they are one of two nexus sets, is questionable. However, considering how the

set complex reveals (5-4) to be a strong candidate (and the fact this set is a sub-set of

the hexachord, (6-Z36); or a superset the opposite way round), it would seem that

our initial suspicions of the importance of the ‘bird-song’ could be substantiated.

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Set complex relations

3 4 5 6 7 8 9 3-1 4-1 5-1 6-1 8-1 9-1 3-2 4-2 5-2 6-2 9-2 3-3 5-3 7-3 8-3 9-3 4-4 5-4 7-4 8-4 3-5 4-5 5-5 8-5 9-5 5-6 3-7 4-9 8-9 7-10 9-10 4-11 5-11 6-11 7-11 8-11 4-13 8-13 7-16 7-Z37 8-17 4-18 5-19 4-20 8-20 4-23 5-29 7-29 6-Z3 6-Z4 5-Z36 6-Z36 6-Z41 6-Z49 6-Z50

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