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Aspects of the flute in the twentieth

centuryPierre-Yves Artaud & Catherine Dale

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Contemporary Mus ic R eview

1994, Vol. 8, Part 2, pp. 131-216

Reprints available directly rom he publisher

Photocopyingpermitted by license only

9 1994 HarwoodAcademicPublishers GmbH

Printed in Malaysia

s p e c t s o f t h e F l u t e i n t h e T w e n t i e t h C e n t u r y

Pierre-Yves Artaud

Translated by Catherine Dale

n troduc t ion

An instrument of culture which more than likely originates in the very first

stammerings of musical expression, the flute has always attracted respect, even

devotion.

Its origins are divine: Krishna, Pan and Tityrus are the earliest known virtuosi.

Plutarch observes that "the flute calms the spirits and penetrates the ears with a

sound so gracious that it brings peace and tranquility to every movement, even

down to the very soul".

Captain Cook reports that at the time of his voyage to Tahiti on 22 April 1769,

he was extremely surprised to find an unknown type of flute: "22 April 1769,

Tootahah provided us with a sample of his country' s music; four people played a

type of flute which had only two holes and which, as a result, could play only two

notes a semitone apart; they played these instruments rather as one wou ld play the

transverse flute, with the single exception that the musician, instead of using his

mouth, blew into one of the holes with his nostril, while stopping the other with

his thumb...".

Nose flutes of this type are found equally among the pygm y tribes of Africa and

in the Phillipines.

The explanation which was provided later relies on a high degree of spirituality;

primitive peoples believed that there were two kinds of air: the first, exhaled

through the mouth, was considered impure since it originated in the viscera. The

second was exhaled through the nose and arose in the head, the repository of the

soul. This second kind constituted a pure breath which was capable of being heard

by the gods and the dead only when it was amplified by the flute, the sole wind

instrument in which the air is not soiled by the instrument since it does not pass

through its tube.

The shakuhachi, for its part, was introduced into Japan from China and became

an instrument of Zen spiritual meditation; indeed, examples of this type may be

multiplied almost

a d in f in i tu m .

It is interesting but fundamenta lly quite natural to meet the flute again and again

throughout the history of human ity and to observe that its role in creation in the

twentieth century is a decisive one.

In this respect, there has been an undeniable infatuation for the shakuhachi

flute in the West for several decades. Performances on the shakuhachi have

fascinated composers both in terms of the instrument's virtuosity and in particular

of its fluidity of sound, and have facilitated a reconsideration of the manner of

131

D o w

n l o a d e d b y [ N e w c a s t l e U n i v

e r s i t y ] a t 0 3 : 1 9 0 6 F e b r u a r y 2

0 1 5


3/87

132 P. Y. Artaud

w r i t i n g f o r t h e B o e h m f l ut e a t a t i m e w h e n t h e h i st o ri c a l n e e d t o l i b e ra t e t h e

B o e h m i n s t r u m e n t f r o m c e r t a i n a e s t h e t i c c r i t e r i a w a s b e c o m i n g u r g e n t .

F o r m y o w n p a r t , e v e r s in c e m y e n c o u n t e r w i t h Y o s h i hi s a T a ir a s h o r t l y a f t e r h i s

a r r iv a l in P a r i s ( 1 96 6 ), I b e g a n t o b e c o m e i n c r e a s i n g ly a w a r e o f a n d e n t h u s i a s t ic

t o w a r d s t r a d it i o n a l t y p e s o f m u s i c, p a r t i c u l a r ly t h a t o f t h e J a p a n e s e t r a d i t io n a n d

t h e s h a k u h a c h i . A t th e A u t u m n F e s ti v al ( in 1 9 70 , i f m y m e m o r y s e r v e s m e

c o r re c t ly ) I a t t e n d e d t h e r e c it a l g i v e n b y Y o k o y a m a a n d T s u r u t a , w h o h a d b e e n

i n v i t e d t o P ar is b y M a u r i c e F l e u re t . T h is w a s a r e v e l a t i o n , o n e o f t h e m o s t

i m p o r t a n t m u s ic a l e x p e r ie n c e s o f m y l if e, w h i c h e n a b l e d m e a m o n g o t h e r t h in g s

t o p e n e t r a t e m o r e f u l ly t h e u n i v e r s e o f m y f r i e n d T a ir a a n d t o r e c o n s i d e r in l a rg e

p a r t m y o w n t e c h n i q u e a n d s e n s i b i l i t i e s .

I n 1 9 8 6 1 m e t Y o s h i k a z u I w a m o t o a t t h e A l m e i d a F e s ti v a l i n L o n d o n . I a t t e n d e d

t h e r e h e a r s a l f o r hi s f o r t h c o m i n g r ec i ta l a n d w a s d a z z l e d n o t o n l y b y t h e p r e s e n c e

b u t a l s o b y t h e i n s t r u m e n t a l a n d p h y s i c a l c o n tr o l o f t h is g r e a t m a s t e r . I c a n n o t

r e m e m b e r e x a c t ly h o w t h e i d e a o f p l a y i n g t o g e t h e r a r o s e , b u t n a t u r a l l y it c o u l d

o n l y d e l i g h t a n d f a s c i n a t e m e , a s w e l l a s c a u s e m e s o m e a n x i e t y . T h e f a s c i n a t i o n

o f a n y o n e w h o r e g a rd s t h is i n s t r u m e n t a n d h is a r t w i t h s u c h p a s s i o n a n d

v e n e r a t i o n m a y e a s i l y b e u n d e r s t o o d ; t h e a n x i e t y to w h i c h i t g a v e r is e s t e m m e d ,

I b e l i e v e , f r o m t h e c h a l l e n g e s i t p o s e d :

1. H o w w o u l d o n e c o n s t ru c t a c o n v i n c in g p r o g r a m m e f r o m t ra d i ti o n a l a n d

c o n t e m p o r a r y m u s i c f o r t h e t w o s ol o i n s t ru m e n t s ?

2 . H o w w o u l d o n e i n t e g r a te t h e t w o s o n o r i ti e s i n a d u e t ?

3 . H o w w o u l d o n e a v o i d fa l li n g i n t o t h e s im p l i st ic n o t i o n o f s u p e r i m p o s i n g t w o

d i f f e r e n t w o r l d s o r , w o r s e , o f c a r ic a t u r i n g a c u lt u r e e i t h e r t h r o u g h n a i v e t y o r

t h r o u g h t h e a d o p t i o n o f a so r t o f c u lt u r a l c o lo n i a l is m ( i n t h e m a n n e r o f R a v e l:

" L a i d e r o n n e t t e , E m p r e s s o f t h e P a g o d a s " ) ?

A s f a r a s t h e f i rs t p o i n t i s c o n c e r n e d , it w a s f a s c i n a t i n g f o r m e t o o b s e r v e t h e

e a s e w i t h w h i c h o n e m a y p a s s w i t h o u t a n y t r a n si t i o n w h a t s o e v e r f r o m t h e

J a p a n e s e M i d d l e A g e s t o t h e p r e s e n t d a y . T h e p r o g r e s s i o n f r o m t h i s p e r i o d t o

T a k e m i t s u o r B er io is u n q u e s t i o n a b l y m o r e a p p a r e n t t h a n t h e p r o g r e s s io n f r o m

B a c h t o B e r i o .

I a t t r ib u t e t h i s f a c t t o a c o m m o n c o n c e r n f o r t h e t r e a t m e n t o f t h e s o u n d w h i c h

o v e r r i d e s t h a t f o r s t r u c tu r e , f o r a l t h o u g h t h e l a t t e r c o n c e r n e x i st s in b o t h p e r i o d s

i t i s n o t e s s e n ti a l to a n i m m e d i a t e p e r c e p t i o n o f t h e m u s i c . I w o u l d s i m p l y l ik e t o

s t a te t h a t e v e n i n t h e c a s e o f a h y p e r - s t r u c t u r a l w o r k s u c h a s Uni ty Capsu le b y

F e r n e y h o u g h , t h e c o n c e r n t o e l a b o r a te a v e r y s tr ic t f o r m r e c e d e s i n t o t h e

b a c k g r o u n d w h e n t h e p i e c e is h e a r d , f o r t h e l i s te n e r i s c o n f r o n t e d w i t h t h e c o n c e p t

o f a s o u n d f a n t a s y . I n r e a l i t y , o f c o u r s e , th i s s t r u c t u r e i s n o t e f f a c e d ; i t i s a b s o r b e d

b y o u r u n c o n s c i o u s p e r c e p t i o n , a n d i s c l e a rl y i n d i s p e n s a b l e t o o u r l o n g - t e r m

m e m o r i z a t i o n o f t h e p i e ce . A c l o s e d s t r u c t u r e is a s in d i s p e n s a b l e t o m u s i c a l

a r c h i t e c t u r e a s i t i s t o m o n u m e n t a l a r c h i t e c t u r e . O n c e t h e b u i l d i n g i t s e lf i s o u t o f

s i g ht w e a r e le f t w i t h a n i m p r e s s i o n o f it s sp a c i o u s n e s s , t h e s t r e n g t h o f it s l i ne s a n d

i ts g e n e r a l a s p e c t . I n t h e s a m e w a y , a f t e r h e a r i n g a m u s i c a l w o r k , i ts s tr u c t u r e s ,

i n t e n s i t ie s ( o r c h e s t r a l c o l o u r s , d y n a m i c s ) a n d g e n e r a l f o r m a s s o c i a t e d w i t h i t s

d u r a t i o n re m a i n i n o u r m e m o r y .

A m u s i c a l w o r k s h o u l d t h e r e f o r e a s s o ci a te b o t h a s p e c t s , a n d i t m a y b e o b s e r v e d

t h a t t h e s e t w o r e p e r t o i r e s d o i n d e e d u n i t e t h e m .

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Aspects of the F lute in the Tw entieth Century

133

With regard to the second point, I confess that my little knowledge of the

shakuhachi together with my years of working with Taira have t aught me a thing

or two.

It is true that the difference in the nature of the two sounds could make their

combination in a duet a delicate procedure. However, the considerable degree of

freedom exercised by the flutes enables them to approach one another in a

satisfactory way. But duet playing also allows the differences between the two

instruments to be emphasized and therefore for one part to distance itself as far as

possible from the other. The first three duets that were composed for us illustrate,

completely by chance, three typical cases:

1 H i g h S o n g by Jo Kondo provides an example of strict, abst ract writing in

which the shakuhachi must renounce all cultural identity in favour of a sound

which is stable in both pitch and tone; this quest for stability constitutes

ultimately the original reason for the existence of the Boehm flute.

2 S y n c h r o n y

by Yoshihisa Taira seems as though it is written for two shakuhachis.

Moreover, the composer has retained deep cultural associations throughout

and his highly gestural music imposes on the Western flute a phrasing and

sound which remain very Japanese. It was for this reason that I asked Taira for

permission to perform this work which was originally written for two flutes in

a version for flute and shakuhachi.

3 N a d a by Mike Vaughan offers a very interesting synthesis of these two cases

in that the two flutes are required to alternate constantly between Eastern and

Western attitudes; moreover, the work, which is composed according to very

elaborate structures in terms of its notes and metrical scheme, is none the less

very gestural, and such an effusive sound fantasy permits a highly successful

osmosis between the two flutes. The selection of the bass flute in partnership

with the shakuhachi constitutes an important aspect of this osmosis.

The final point concerns the perilous situation which must be avoided at all

costs. Clearly, the choice of repertoire is crucial and, from this perspective, one

must know exactly which composers one wishes to address.

The second condition depends first of all on the performer having thoroughly

assimilated the culture of his partner. Iwamoto has a very solid Western

technique and, at the time of our first concert (August 1987 in Dartington), I for

my own part had behind me t went y years of knowledge of the Japanese tradition

which proved sufficient for me to have absorbed physiologically certain

technical and cultural principles. Without this kind of approach such a duet

combination would prove as musically sterile as the performances of those

Baroque music ensembles which play original instruments and believe that by

merely purchasing a Baroque flute or a viola da gamba they will achieve the

desired result. It is indeed naive to limit musical expression to a single technique

while severing it from its culture.

The prevailing sentiment of the time, and ideas concerning vibrato or modes of

attack must be completely modified, therefore, in the progression from Taira to Jo

Kondo. This may only be achieved if the condition of cultural assimilation is

fulfilled, and the latter requires years of study. If the technique itself can be learnt

fairly rapidly, the rest takes time, time without which nothing of any depth or

truth may be achieved.

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134 P. Y. Artaud

For me, the formation of this duo constituted an important step in my career,

first and foremost because it represented a challenge, secondly because it enabled

me to realize a musical quest which had concerned me for over two decades, and

finally because it allowed me to work with Iwamoto, a ma n for whom I have much

friendship and musical esteem, and a disciple of Yokoyama to whom, without his

knowing it, I am equally indebted.

1 S o m e C h a r a c te r is t i c s o f t h e M o d e r n R e p e r t o i r e

The real golden age of the transverse flute coincided with the beginning of the

present century. Far from disregarding the considerable contribution made by

Baroque music or even the importance of the technical research carried out at the

beginning of the nineteenth century, we are obliged to recognize that the flute

achieved its birthright (in written music at least) only with the advent of atonality.

The current enthusiasm for the flute is proportional to the lack of trust certain

Romantic composers had of the instrument, considering it incapable of expression

(Berlioz) or vulgar and colourless in sound (Wagner).

It is true that the technological discoveries characteristic of the industrial age

have given birth during the last sixty years or so to a number of illegitimate

instruments of which nei ther the sonority nor the playing technique could pretend

to the least attempt at unified characterization. What better way to perplex any

well-intentioned composer

In 1830, while Theobald Boehm (1794-1881) was taking the initial steps in the

research which would produce, less than two decades later, the invention which

would revolutionize the conception not only of the flute but also of the oboe and

the clarinet, the Baroque flute and several mechanisms ranging from five- to

thirteen-keyed systems were still in use.

The French were following in a line of aesthetic descent from the great artists

Hotteterre the Roman or Michel Blavet, which was characterized by delicacy of

sound and diversity of tone colours; at the same time, Boehm himself was

recognized as a great virtuoso, and Nicholson in England seemed closer to the

present conception with his remarkable fullness of sound.

It took Boehm's discovery, therefore, to finally recapture the imagination of the

great composers and to impose a new instrument, the sound possibilities and

techniques of which had been completely renewed.

Theobald Boehm

Boehm was born in Munich and was educated individually, attending school

between the ages of nine and eleven only. He learnt Latin, French and English.

While he was apprenticed to his father's trade of goldsmith, the young Theobald

began to study the transverse flute, and one of his neighbours, Johann Capeller,

the flautist at the Royal Court, decided to help him by giving him free lessons. His

curiosity in and liking for the flute simply grew and, when he was only sixteen

years of age, he constructed his first instrument, a four-keyed model. In 1812

Boehm entered the Isartor Theatre as first flautist. During 1815 he spent some time

in Geneva where he learnt to make musical boxes. His taste for travel led him to

France, Switzerland and Germany, and he visited Strasbourg, Frankfurt,

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Aspects o f the F lute in the Tw entieth C entury 135

W~rzburg, Nuremberg and Hanau, study ing and establishing himself as a flautist.

On 1 June 1818 he became a flautist at the Munich Court and began to take

composition lessons. His opus 1, the

C o n c e r t o i n G m a j o r

for flute, dedicated to

Anton B. F~rstenau, received its first performance by Boehm himself in 1820.

Numerous tours as a soloist in Germany, Austria, Switzerland and Italy brought

him great renown. During the course of these journeys he frequent ly worked with

Paganini and the singer Catalani. :

In 1828 Boehm set up his own workshop for the manufacture of flutes and

employed Rudolph Greve, son of the famous Mannheim manufacturer, Andreas

Greve. The first Boehm flutes remained the eight- or n ine-keyed conical models,

based on the Tromlitz flute. It was not until several years later that Boehm, after

following quite naturally in the tradition inherited f rom his predecessors, began to

call the old principles of construction into question: this was brought about, no

doubt, by the shock he received during a tour of England in 1831. The English

were full of praise for his technical qualities and pleasing sound, ibut they

expressed reservations concerning his power and capacity for expression. It was at

this same time that Boehm heard the famous Nicholson who dazzled him with the

fullness of his tone. Nicholson s flute was bored with muc h larger Holes, and

Boehm decided to apply this principle to his own instruments. During the same

year he finally perfected a new system of keywork. The new flute was extremely

well received in Paris due to the efforts of Coche, Dorus and Camus in particular.

In Germany, it was frowned upon. Boehm continued to study ways in which he

might perfect the flute and, in 1846-1847, he took a course in acoustics with Carl

von Schafthautl, a professor at the University of Munich. These studies resulted in

a decisive improvement which consisted of making the foot joint and body of the

flute cylindrical and its head joint conical. It was thus in 1847 tha t Boehm realized

his definitive model based on scientific principles.

Much technical and scientific research followed, and at the London Exhibition of

1862 Boehm presented a diagram which he called his s c h e m a and which aimed to

, ( . . . . . . . . . . . . . . . . . . . . 3 0 3 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

* " " S ~ ' " ' ; " . . . . . . . . . . - 2 S 3 . 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ~ . i

~ ~ , K ~ , ~ , ~ , ~ , . ~. .~,.~, r, .~- .~ -

.,,. t . P , . ? - ? . ? , ? , ? , ? , ? , ? ,

? ' - ? ' - ' - -

~ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . .

3 3 3 0 0

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . ~ 1

~ .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 $ 4 . 1 J . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . - '

:

~ , . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . 6 7 o , o o . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . - - : - . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. .

Figure I S c h e m a for determining the positions of the tone holes of wind instruments at various

pitches

simplify or dispense altogether wi th the calculations concerning the length of the

flute and the position of the holes in relation to the chosen range. It did indeed

appear that Boehm had followed these principles scrupulously in the construction

of his instruments.

The realization of this

s c h e m a

is inspired in its simplicity.

t Boehm,T. (1964)

The Flute and Flute Playing

New York: Dover Publications.

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136 P.-Y.Artaud

1 . F i r st , p lo t the l ine B on the se lec ted sca le : s ince the l eng th of th i s l ine i s 67 0m m

i t m a y b e e a s i e r t o s el e c t a s c a le o f 1 / 2 , 1 / 3 o r 1 / 4 , b u t t h e a c t u a l s ca l e c h o s e n

i s n o t i m p o r t a n t .

2 . T o t h e r i g h t o f B , m a rk t h e t h i r t e e n p o i n t s o f i n t e r s e c t io n w h i c h r e p re s e n t t h e

th i r t ee n no tes o f the f i rs t oc tav e : C 3 , C sha rp 3 , D 3 , D sha rp 3 , E 3 , F~ F sh arp 3,

G 3, G sh arp 3, A 3, A sh arp 3, B3 , C 4. T h e s e t h i r t e e n p o i n t s w i l l e x t e n d o v e r h a l f

o f th e l e n g t h o f B . T h e d i s ta n c e b e t w e e n t h e m i s d e t e r m i n e d b y a g e o m e t r ic a l

r e l a t i o n s h i p o f 1 . 0 5 9 5 .

3 . F ro m t h e s e t h i r te e n p o i n t s , p l o t t h i r t e e n p e rp e n d i c u l a r s t o t h e l in e B ( a b o v e

a n d b e l o w t h e l i n e ) .

4 . D ra w a li n e A p a ra l le l t o B a n y d i s t a n c e f ro m B . I t i s a d v i s a b l e t o r e g u l a t e t h is

d i s t a n c e c a r e fu l l y ( i f i t i s t o o s m a l l , i t w i l l n o t p e rm i t a n y i n t e rm e d i a t e

c a l c u l a t i o n s ; i f i t i s t o o l a rg e , i t w i l l n o t p ro d u c e a n a d e q u a t e g r a d i e n t f o r t h e

d i a g o n a l s a n d w i l l a l l o w i m p re c i s e s t a t e m e n t s o f d i s t a n c e s o n l y ) . T ry t o

c a l c u la t e t h e d i s t a n c e A B s o t h a t t h e d i a g o n a l s a r e a t a n a n g l e o f a p p ro x i m a t e l y

4 5 ~ a b o u t 1 .5 t i m e s t h e d i s t a n c e f ro m t h e p o i n t o f i n t e r s e c ti o n o f C 3 t o t h a t

o f C s h a rp 3 s h o u l d b e s u f fi c ie n t .

5 . N ext , p lo t the d iagona l s : f i rs t t ake C 3 on t he l ine B an d jo in i t to A w i th a line

w h i c h e n d s a t t h e p o i n t o f i n te r s e ct i o n o f C s h a r p 3 o n A . E x t e n d t h e s e l in e s

a b o v e a n d b e l o w B . R e p e a t t h e o p e r a t i o n f o r e a c h o f t h e t h i r t e e n p o i n t s .

6 . A l l t h e d i a g o n a l s d r a w n i n t h i s w a y w i ll t h e r e fo re r e - i n t e r s e c t t h e p e rp e n d i c -

u l a r s u n d e r t h e l i n e B . I f t h e

s c h e m a

i s r e a l i z e d c o r r e c tl y , al l t h e s e n e w p o i n t s

o f i n t e r s e c t io n w i l l b e a l i g n e d a n d w i l l d e t e rm i n e t h e p o s i t i o n o f C .

T h e r e l a t i o n s h i p b e t w e e n t h e d i s t a n c e s A B a n d B C w i l l b e i d e n t ic a l , 1 . 0 5 9 5 .

A renaissance of the f lu te

S u c h d e f i n i t i v e m o d i f i c a t i o n s o f t h e i n s t ru m e n t f a c i li t a te d a r a d i ca l e n r i c h m e n t o f

t h e r e p e r t o ir e i n e v e r y d o m a i n . I n t h e o r c h e s t ra l s p h e r e i t a c h i e v e d a r e m a r k a b l e

d e g r e e o f i n d e p e n d e n c e . C l a u d e D e b u s s y s s y m p h o n i c p o e m , Pre l ude t o Fhe

A f t e r n o o n o f a F a u n , b e g i n s w i t h t h e f a m o u s s o l o w h i c h e x p l o it s t h e s e n s u a l i t y o f

t h e l o w r e g i s t e r t o m a r v e l l o u s e f f e c t . M a u r i c e R a v e l s h o w e d m o r e i n t e r e s t i n t h e

b r i l l i a n c e o f t h e u p p e r r e g i s t e r ( e x c e p t i n

Bolero,

o f c o u r s e ) . I g o r S t r a v i n s k y

m a s t e r e d t h e v i r t u o s i c a s p e c t o f t h e f l u t e i n Petrushka, The Firebird , The Song of the

N i g h t i n g a l e a n d t h e Concerto, f o r e x a m p l e . N a t u r a l l y , c h a m b e r m u s i c a l s o t o o k

p o s s e s s i o n o f t h e f l u t e a n d g a v e i t a n u n r i v a l l e d p o s i t i o n i n i n c r e a s i n g l y v a r i e d

i n s t r u m e n t a l c o m b i n a t i o n s . T h u s , w i t h i n a s h o r t s p a c e o f t im e , A r n o l d S c h o e n b e r g

p r o d u c e d

Pi er ro t Luna i re

a n d t h e

W i n d Q u i n t e t ,

o p u s 2 1 , h i s f i r s t i m p o r t a n t s e r i a l

w o r k .

S i m u l t a n e o u s l y w i t h t h e p r o d u c t i o n o f th i s r e p e r to i r e a s e c o n d , s o l o r e p e r to i r e

b e g a n t o d e v e l o p t o c o m p l e t e l y u n i q u e p r o p o r t i o n s a n d e x p e r i e n c e a d e g r e e o f

g r o w t h w h i c h h a d n e v e r b e e n k n o w n b e f o r e .

A n n o u n c e d s o m e w h a t t i m id ly b y D e b u s s y s S y r i n x ( 1 9 13 ) f o l l o w e d b y S i g fr id

Karg-E le r t s

S o n a t a A p p a s s i o n a t a ,

o p u s 1 4 0 (1 9 1 7 ) a n d H i n d e m i t h s

Eight Pieces

( 1 92 7 ), t h e a g e o f t h e s o l o p ie c e w a s c o n f i r m e d b y t h e t w o m a s t e r p i e c e s o f 1 9 3 6:

D ens i t y 21 . 5 a n d Fi ve Incan t a t i ons b y V a r6 s e a n d J o l i v e t r e s p e c t i v e l y . F ro m t h e e n d

o f t h e 1 9 5 0 s, a c o n s t a n t s t r e a m o f c o m p o s i t io n p r o d u c e d s u c h r e m a r k a b l e w o r k s

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Aspects of the Flute in the Twentieth Century

137

as those by Takemitsu, Matsudaira, Yuasa, Ferneyhough, Taira, Berio, Donatoni,

Yun, Nono, Huber , Hosokawa, L6vinas, etc . . . .

The reasons for this passion for the transverse flute must no doubt be sought in

the nature of its sound. It is indeed a flexible instrument and one which permits

both a high degree of virtuosity and a wide range of colours. The flute is not very

demonstrative in the domain of nuance even though the modern instrument

enables greater freedom. A type of music composed of sound effects would be

out of the question (although with the possibility of amplification everything may

be reconsidered); the composer tempted by the flute must concentrate on notated

music.

The very limitations of the instrument lead to its use as a compositional

laboratory in the way that the string quartet and pianoforte were used previously.

Various solutions to the problem of the monodic instrument (of which J. S. Bach

was already aware in the Baroque period) may be proposed.

It is possible, in fact, to work almost without constraint on the combination of

sound parameters.

The flexibility of the embouchure facilitates all sorts of gymnastics' and the

most recent techniques are themselves high ly malleable. For example, a multi-

phonic sound on the flute only rarely contains more than two perceptible

frequencies. On the other hand, it is practically always possible to imagine a

contrapuntal treatment of these two components. This procedure is radically

opposed to the treatment of the bassoon or the oboe in which the richness of the

chords allows monolithic use only.

Thus, the solo repertoire consists for the most part of polyphonic works which

use numerous techniques of performance.

In this respect, it is convenient to distinguish two periods separated by the year

1967 which saw the publication of Bruno Bartolozzi's treatise New Sounds for

Woodwind 2 This treatise precipitated (albeit in a rather disordered way) the

movement towards these techniques of performance.

The need for such new techniques had become urgent; compositional resources

had to be renewed if complete disinterest were to be avoided. I was aware of this

problem myself and, with my friend, the composer G4rard Geay, had instigated

the writing of a treatise which was completed shortly after Bartolozzi's work, but

which, unfo rtunately, remained unpublished until 1980. 3 These two compendia

are distinguished in numerous ways: Bartolozzi reveals a concern for all the

woodwind instruments and, in particular for their polyphonic possibilities, while

Geay and myself concentrated on the flute family currently in vogue (piccolo,

concert, alto and bass flutes). These two treatises each sanction in their own way

a reconsideration of the concept of the solo flute piece.

Works composed after 1970

The principal characteristic of the works of the 1970s is without doubt the

provision of a vast testing ground for all the newly available material. The

temptation to exploit all this material is great, but the historical need not to seek

to avoid this new exploratory period is equally so: one must learn to recognize,

2 Trans la ted and ed i t ed by Reg inald Sm i th Br ind le Oxford Un ivers i ty Press , London) , 1967 .

3 Ar taud , P .Y. and Geay , G. 1980)

Present-Day Flutes

Paris : Jobert -Transat lant iques.

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138 P. K Artaud

understand and assimilate the physical and expressive properties of these new

possibilities.

Numerous attempts were made in the domain of narrative or gestural

composition Taira, L6vinas, Yun, Huber, Richard, Me fa no .. .) as muc h as in that

of the abstract or structural trea tment of the material Malherbe, Ferneyhough,

Dillon...). If the results of these attempts often seem rather poor on a purely

numerical count, one need only note the appearance of certain masterpieces

among which the works of Ferneyhough, Takemitsu, Taira, Radulescu, Nunes or

Dillon may be ranked, to name but a few.

At the same time, the whole family of flutes developed. In so doing it was

reverting to a former notion, for the instrumental family had found itself curtailed

by the development of the symphony orchestra and by its technical corollary,

instrumental specification. As early as the first decades of the twentieth century,

Ravel and Stravinsky rediscovered the mysterious charm of the alto flute and

incorporated it in a significant way into Daphni s and Chlod and The R i t e o f Spr ing .

The bass flute appeared later at the beginning of the 1960s) wi thout ever really

having asserted itself in former times.

The works, inspired by Charles Koechlin,4 in which this change in the

conception of the flute occurred became increasingly numerous; similarly, the

regrouping of these ins truments as a flute quartet took on a new dimension. In this

respect the role played by the Arcadie Quartet 5 should be mentioned . Some years

later flute ensembles rose to a degree of prominence which was comparable to, and

often surpassed that which they had experienced in the Middle Ages and the

Renaissance, until orchestras consisting of between twen ty and twenty-five flutes

were formed in Yugoslavia, America and Japan, and of as many as forty in Paris

with the formation of the French Flute Orchestra by myself in 1988.

T h e f l u te f a m i l y

With the increased possibilities made available by the application of precise

technological developments to flute construction, the instrumental family ad-

vanced considerably, and from the four instruments which constituted it during

the 1960s, it has increased to more than ten. Figure 2 indicates the ranges of the

most frequently used flutes the most common Ones are underlined). It excludes

some of the rarer instruments such as the piccoletto in E flat, the bass in F or the

slide flute of Greta Vermeulen.

Certain frequencies may or may not be sounded depending on the make and

quality of the instrument: these frequencies are shown in brackets, as in the case

of the low B on the C flute which requires an additional B key, the use of which

is uncommon in Europe.

It may perhaps be necessary to specify that although the Boehm system is a

generalized one, certain differences in the details of construction exist, however,

and these may involve certain technical limitations in performance. These

limitations are summarized in Figure 3 below.

4 FuneralSteles 1950) for piccolo, concert flute and alto flute.

s The Arcadie Quartet was established n 1965 by Pierre-Yves Artaud, Pierre-Alain Biget, Arlette

Leroy and Jean-Pierre Lebocq.

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Aspects o f the F lu te in the Twen t ie th Cen tury 139

Piccolo Trcbl emG F~te i~Eb Conce niuC Flut e~Bb Al~ iu O B+_uinC

(f l~ d'amour) ~ Ip-

a t * ~

~ ~ ~ D

, ~ ( _ ~

, ,

/ ~ i ~ i - - / ~ i - ~ / - - - - J - - - - i _ _

+ , s ' p - - - - ,

. , F

' ~ d r + ,' ~: .++ 3: ,~ ~:

~ i u e Comrab~minO O c t o ~ m s i n C

"O"

,, r2~..~l. ,

igure

2 The flute family

T h e a d v e n t o f e l e c tr o n i c t e c h n i q u e s

From an early stage, the field of investigation of the repertoire incorporated

-techniques which were derived from electronics. In 1961, four years after the

composition of Var6se's

P o ~ m e E l e c t r o n i q u e

Bruno Maderna wrote

M u s i c a s u d u e

d i m e n s i o n i

in which the recorded material consists principally of the electronic

manipulation of pre-recorded flute sounds (which are taken from the piece itself).

Unfortunately, the composer offers no further indications concerning either the

treatment of the material or its performance directives. Any conclusion reached

may be done so only on the strength of a rather imprecise hearing of Severino

Gazzelloni's old recording which is, of course, unavailable at present. Thus one

cannot be certain of the composer's intention to amplify the flute or not. In my

opinion, amplification is not desirable since the two dimensions implied by the title

acquire more poetic force through the innovative superimposition~ of the acoustic

instrumental sounds with those of the electro-acoustic tape.

Since 1961 there has been a succession of pieces which have proposed a tape

consisting of concrete or electronic sounds either with or without the amplification

of the soloist. Mefano, L6vinas, Risset, Reynolds have all contributed to the

expansion of this repertoire which, in spite of its inherent interest, could serve only

as a stopgap until the advent of the computer and interfaces such as the flute 4X

enabled the instrumentalist both to control the machine and to operate within a

relationship which was liberated from the anti-instrumental constraint of an

objective beat imposed by the tape recorder.

On the other hand, if the same drawbacks are presented by the kind of tape on

which the flautist is superimposed on other material which he has pre-recorded

himself (Reich, Radulescu, Mefano, Nunes), this does at least allow an interesting

multiplication of personality: in performing wi th himself, the spatialization of the

flautist's own personality creates a completely new type of sound space while

enabling him to minimize the problems of temporal integration (or intonation)

since he has proposed the material himself.

T h e n e w v i r t u o s i t y

This immensely rich repertoire may give the impression of a vast experimental

terrain laboured by numerous creators who have each exploited and continue to

exploit the flute as a laboratory for the exploration of their own predilections. This

6 Ddserts

compos ed seven years earlier did not propose a superimposi tion of this kind.

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1 4 0 P. Y. Artaud

U

<

U

V4

D

oa

m ~ m =

a o ~ o

w~ w~

m

~~ ~ ~

m

o

8

m

e~

0

z

>~ >~ z

.m

m ~ m O 0

= =

m ~ m 0 0

>~ >~ z z

m ~ m 0 0 m

>e >e z z >~

m o o

0 a o > , ~ e

~ ~ ~

o ~ ~

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Aspects of the Flute in the Tw entieth Century 141

i n d e e d s e e m s t o b e t h e c a s e t h e m o r e o n e c o n s i d e r s t h a t t h e f l e x ib i li ty o f t h e

i n s t r u m e n t l e n d s i ts e lf a d m i r a b l y to t h e m o s t d a r i n g e x p e r i m e n t a t i o n i n t e rm s o f

b o t h i ts s o u n d a n d i ts s h e e r v i rt u o s it y . O n e i m p o r t a n t c o n s e q u e n c e o f all t h is h a s

b e e n t o e n c o u r a g e p e r f o r m e r s t o l a u n c h i n t o t h e c o n q u e s t o f u n e x p l o r e d t er ri to r ie s

i n o r d e r t o e x e r c i s e g r e a t e r c o n t r o l o v e r a l l t h e s e f r i n g e t e c h n i q u e s w h i c h w e r e

c o n s i d e r e d c u r i o si ti e s o r n u i s a n c e s b y t h e t r a d i t i o n a l s c h o o l , a n d t o c l as s i fy a n d

r a ti o n a li z e t h e s e t o t h e p o i n t a t w h i c h t h e y m a y b e c o m e e l e m e n t s o f a n e w

i n s t r u m e n t a l l a n g u a g e .

T h e c o n t r o l o f a ll t h e s e e l e m e n t s m a y b e d e f i n e d a s t h e c o n c e p t o f a n e w

v i r tu o s i t y w h i c h r e q u ir e s t h a t t h e s o u n d b e c o n s i d e r e d a s a s tr u c t u ra l e n t i t y i n t h e

s a m e w a y a s th e p a r a m e t e r o f p o l y p h o n y . T h u s t h e n e w v i rt u o so c a n n o t b e

c o n t e n t w i t h a l i g n in g th e m a x i m u m n u m b e r o f n o t e s p o s s ib l e w h i l e l e a v i n g a s id e

t h o s e a r t i c u la t o r y e l e m e n t s w h i c h a r e d e t e r m i n e d a u t o m a t i c a l l y b y a c u l t u ra l

d e f i n i t i o n o f t h e m u s i c a l p h r a s e . N u a n c e , a t t ac k , v i b r a t o , c o lo u r , i n t o n a t i o n , a ll a r e

d e t e r m i n e d b y a l o g i c a l r e l a t i o n b e t w e e n t h e n o t e s a n d t h e i r f u n c t i o n w i t h i n t h e

p h r a s e .

T h e n e w v i r t u o s i t y im p l i e s f ir s t a n d f o r e m o s t a f i rm c o n t r o l o f t ra d i t i o n a l

t e c h n i q u e . I t e x c e e d s t h i s i n r e q u i r i n g t h e a s s i m i l a t i o n o f a f u r t h e r 1 4 0 - 1 5 0

f i n g e r i n g s t o t h e f o r t y - t w o c u r r e n t l y i n u s e i n o r d e r t o p r o d u c e m i c r o - i n t e r v a l s,

g l is s a n d i a n d m u l t i p h o n i c s . I n a d d i t i o n , it d e m a n d s a n a b i li ty to c o m b i n e a t ta c k s,

t im b r e s , v i b ra t o s a n d i n t o n a t i o n s i n n e w a n d i n f in i te w a y s .

I n re a l it y t h e q u e s t i o n e x t e n d s b e y o n d t h a t o f a n e w t e c h n i q u e a n d i ts p e d a g o g y

t o a c o m p l e t e r e a s s e s s m e n t o f t h e c o n c e p t o f t h e i n s t r u m e n t a n d i t s r e l a t i o n s h i p

w i t h t h e s c o re , in s h o r t , o f t h e s t a t e o f m i n d o f t h e i n s t r u m e n t a l i s t .

T h i s g r e a te s t p o s s ib l e d e g r e e o f fa c il it y d e m a n d e d o f t h e i n s t r u m e n t a l i s t h a s

f o r c e d h i m t o r is e c o m p u l s o r i l y a n d p r o g r e s s i v e l y to t h e l e v e l o f a r e s e a r c h e r a r o le

w h i c h h e a s s u m e d o c c a s io n a l ly i n t h e p a s t) , t h e n t o p a rt ic i p a te v e r y c l o s el y i n t h e

a c t o f c r e a ti o n i ts e lf , t o s u c h a n e x t e n t t h a t h e o f t e n a c q u i r e s a c r e a ti v e f u n c t i o n i n

t h e c o m p o s i t i o n a l p r o c e ss . I t h a s b e c o m e f r e q u e n t p ra c t ic e t o l i n k t h e n a m e o f a

c o m p o s e r w i t h t h a t o f h i s p e r fo r m e r , a s i n t h e c a s e o f S e v e r i n o G a z z e l l o n i a n d

L u c i a n o B e r io , A u r6 1 e N i c o l e t a n d H e i n z H o l l ig e r , J e a n - P i e r r e D r o u e t a n d G e o r g e s

A p e r g h i s o r S y l v i o G u a l d a a n d Y a n n i s X e n a k i s .

T h i s s t i m u l a t i n g i n t e r a c t i o n is o f t e n r e s p o n s i b l e f o r t h e e m e r g e n c e o f p o s i t i v e

a n d p o w e r f u l c r e at io n s . I n d e e d , h o w c o u l d o n e d i s p e n s e w i t h i t i f o n e h a s t h e

i m p e r i o u s d e s i re t o g o b e y o n d a d m i s s i b le l im i t s , t o v i o la t e c o m f o r t a b l e t e r ri to r y , to

s h a t t e r t h i s i n t o p i e c e s i n o r d e r t o r e c r e a t e t h e i n s t r u m e n t a n d i t s l a n g u a g e

c o m p l e t e l y ?

I n t h is c o n q u e s t , t h e f l u te h a s i n d e e d p r o v e d t h e d r i v i n g i n s t r u m e n t o f t h is

c e n t u r y a n d h a s b r o u g h t i n i ts w a k e a n e n o r m o u s r e s u r g e n c e o f i n t e re s t i n a ll t h e

w i n d i n s t r u m e n t s w h i c h h a s c o n f e r r e d a n e w s o c i a l s t a t u s o n t h e i r p e r f o r m e r s .

2 W o r k s C o m p o s e d B e fo r e 1 97 0

1 D e n s i t y 2 1 5 b y E d g a r d V a r ~ s e 7

I n ju s t t h r e e m i n u t e s t h r e e c e n t u r ie s o f t r a d it i o n in w h i c h t h e f l u t e w a s p e r c e i v e d

a s a g a r ru l o u s , p a s t o r a l i n s t r u m e n t , a v o w e d l y i ts p r i n c i p a l d i s t i n g u i s h i n g

7 Recordedby Pierre-Yves Artaud : CD N eum a 470 76.

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142 P.-Y .Artaud

f e a t u r e s f r o m t h e s e v e n t e e n t h t o t h e n i n e t e e n t h c e n t u ri e s , a re c a ll e d i n t o

q u e s t i o n .

I n j u s t th r e e m i n u t e s a n e w i n s t r u m e n t i s r e v e a l e d a n d a n u n p r e c e d e n t e d t r e n d

a m o n g c o m p o s e r s i n w h i c h t h e f l u te is r a p i d l y r a i se d t o th e p r i v i l e g e d r a n k o f

l e a d e r i n m u s i c a l c r e a t i o n i s s e t .

I n j u s t th r e e m i n u t e s t h e o v e r r i d i n g c o u r s e o f f lu t e w r i t i n g w h i c h w o u l d e n g u l f

e v e r y f u t u r e c o m p o s e r i s l a i d b a r e .

A cry in the desert

T h e c i r cu m s t a n c e s i n w h i c h D e n s i t y 2 1 . 5 w a s c o m p o s e d a r e q u i t e p a r ad o x i c al a n d

m e r i t s o m e d i s c u s s io n h e r e . F r o m t h e o u t s e t V a r 6 s e s w o r k s s t a n d a p a r t f r o m t h is

b r i e f s o lo : h i s s o u n d w o r l d i s r a t h e r o n e o f e l e v a t e d d e c i b e l s , p o w e r f u l f o r ce s ,

c o n c r e t e s o u n d s w h i c h e x p l o d e i n to a s p a c e w h i c h V a r 6 s e h i m s e l f i m a g i n e d o n a

p l a n e t a r y , e v e n c o s m i c s c a le . I n h i s w o r k s , t h e f i r st p e r c u s s i o n o r c h e s t r a s

Io n i sa t io n , 1 9 3 1 ) a n d t h e f ir st e l e c t r o n i c s o u n d s i n d i a l o g u e w i t h t h e o r c h e s t r a

Ddserts,

1 9 5 4) a p p e a r , w h i l e t h e

P o ~ m e E lec t ro n iq u e

( 1 95 7 ) i ss u e d f o r t h f r o m e v e r y

p a r t o f t h e i m m e n s e F r e n c h P a v i l i o n d e s i g n e d b y L e C o r b u s i e r f o r t h e B r u s se l s

U n i v e r s a l E x h i b i ti o n o f 1 95 8 . A n d i t w a s V a r 6 s e, m o r e o v e r , w h o w o r k e d f o r a

n u m b e r o f y e a r s o n a n e n o r m o u s p r o j ec t , Espace, w h i c h w a s a w o r k i n t e n d e d t o

b e p l a y e d s i m u l t a n e o u s l y i n s e v e r a l t o w n s o n t h e e a r t h , a n d t r a n s m i t t e d l iv e a c r o ss

t h e w h o l e w o r l d b y r a d io .

G i v e n t h i s s i tu a t io n , a s ol o fo r f lu t e l a s ti n g t h r e e m i n u t e s m a y c o m e a s a

s u r p r i s e , s o g r e a t l y d o e s it s e e m a t o d d s w i t h t h e c r e a t i v e a s p i r a t i o n s o f i ts

c o m p o s e r ; a n d t h e o b s e r v a t i o n t h a t

D e n s i t y 2 1 . 5

w a s t h e o n l y p i e c e t h a t V a r 6 s e

p r o d u c e d d u r i n g a t w e l v e - y e a r s il e nc e (1 9 3 4 - 1 9 4 6 ) c a n o n l y s e r v e a prior i to

d e e p e n t h e m y s t e r y . T h i s p a r a d o x i t se l f w i ll , h o w e v e r , p r o v i d e t h e s o l u t io n t o t h e

e n i g m a . I f V a r 6 s e c e a s e d c o m p o s i n g f o r s u c h a n e x t e n d e d p e r i o d , i t w a s , o f c o u rs e ,

o n a c c o u n t o f a n a e s t h e t i c cr is is w h i c h p r e v e n t e d h i m f r o m c o n t i n u i n g t o c r e a te

t h e m u s i c w h i c h h e h e a r d i n w a r d l y , a n d w h i c h w a s f u n d a m e n t a l l y f re e f r o m t h e

u n w i e l d i n e s s o f i n s t r u m e n t s a n d t h e t e ch n i c a l l i m i t a ti o n s o f p e r f o r m e r s . H e a i m e d

t o c r e a te m u s i c o f a n e x t r e m e r i g o u r i n w h i c h s o u n d s f l o w e d t h r o u g h s p a c e in a n

i n f in i t e v a r i e t y o f c o l o u r s a n d i n t e n s it i e s . O n l y t h e e l e c t r o - a c o u s t i c u n i v e r s e c o u l d

o f f e r a so l u t io n t o th i s p r o b l e m , b u t t h e t e c h n i q u e w a s i n a n e x t r e m e l y

r u d i m e n t a r y s t a te a t t h is t im e . T h e p o s s i b il i ty o f c o n t i n u i n g s e e m e d s o r e m o t e t o

V a r ~ s e t h a t h e f e ll s i l e n t a n d p r e f e r r e d t o w a i t .

I n th e m i d s t o f h i s p a s s a g e t h r o u g h t h e d e s e r t ,

D e n s i t y 2 1 . 5

a p p e a r e d t h e r e f o r e

a s a c r y o f r e v o lt , a d e s p e r a t e c h a n t , a n i m p o s s i b l e s t a ke . H a v i n g b e e n u r g e d f o r

s e v e r a l y e a r s b y G e o r g e s B a r r6 r e t o w r i t e a p i e c e f o r h i m , 8 V a r 6 s e s u c c u m b e d a t

t h e h e i g h t o f t h e c ri si s p e r h a p s b e c a u s e h e s a w i n t h is g e s t u r e t h e m e a n s o f

i n c r e a s in g t h e i m p a c t o f h i s c ry o f a l a r m o n t h e m u s i c a l w o r l d : w h a t c o u l d b e d o n e

8 T hi s fact is not generally known and was confirm ed by L ouise Var6se in a letter dated 1982

which she wrote to me in reply to some questions I had asked regarding the composition of

Density

21.5.

She w rites:

Var~se s friend, the eminent flautist Georges Barr6re, had long been begging Var6se to w rite him

something for his instrument. He became even more pressing w hen he acquired a new and unique

flute mad e o f platinum, which he was to inaugurate at a benefit concert for the L yc~e Francais in

N ew York. A mon th before the concert, Barr~re received that long-solicited score, which Var~se had

given the esoteric title of Density 21.5 - obvious, of course, to those who knew the density of

platinum.

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Aspects of the F lute in the T wentieth Century

143

hereafter with these frail instruments, limited in every respect like musical

cripples, powerless to escape from their narrow cage? Var6se tortures the flute and

the flautist, demanding of them feats of embouchure which were inconceivable at

the time and which remain just as problematic fifty years later.

D en s i t y 21 .5 a p iece in sp i red by e l ec t ron ic charac te r i s t ic s

The work is cast in an overall ternary form which is characterized rhythmical ly by

a mixture of ternary and binary structures.

The first section is composed of twenty-three bars. It reveals a crescendo of

fluctuating intensity which culminates in bars 14, 17 and 21, and closes rapidly

into the following section.

The first three bars may be considered an exposition of all the material which is

subsequently developed later in the piece.

72

~ z ~ ~ m

f

F i g u r e 4

P ~ f ) mf~

The most~significant rhythmic and intervallic motives are stated at the outset,

., ~ together with the major and minor seconds which also constitute

the pnncipal thematic material of

S y r i n x

a piece on which Var6se resolutely turned

his back after this mischievous glance in its direction.

The second bar introduces the ternary idea and is subdivided into unequal

lengths of one, three and two units respectively. At the end of this bar an

intervallic expansion gives rise to the second held

n o t e G 3

which, following F

sharp 3, presents the minor second motive. This sequence concludes with a rest

which will provide the principal material of the second section at its opening.

The two long notes (F sharp and G) also form the basis of an important use of

dynamics which exposes the principle of manipulating the sound, since a dynamic

change does not merely imply a variation of expressive nuance as in classical

music; it underlies a constant variation in timbre. One has only to listen to the

clarinet solo The Abyss of the Birds from Olivier Messiaen's

Q u a r t e t f o r t h e E n d

o f T i m e

to be convinced of this. The relative neutrality of the

m f

rhythmic motives

which surround these two long notes throws into relief this procedure which

occurs continually throughout the piece. A high point in its usage may be seen in

bar 11 in which the

f f f

D 4 requires the overblowing of the instrument to such an

extent that the harmonics of the note are reinforced and become audible: we thus

find ourselves at the brink of polyphony.

Throughout the whole of this first section the treatment of the material is highly

systematic; the initial motives recur either in their original form or in intervallic

transformations as in bars 3, 9, 10 and 11, 13, 15, 16 and 17, 20 and 21, 22 and

23, thus spanning the entire range of the instrument.

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144 P . Y . A r t a u d

F i g u r e 5 B a rs 9 1 1

Figure 6 Ba rs 16 and 17

I c subilo

: _ ~

Figure 7 Ba rs 20 and 21

T w o o t h e r i m p o r t a n t o b s e r v a t i o n s m a y b e m a d e w h i c h a p p l y f u r t h e r m o r e to th e

w h o l e p i e c e . T h e d e g r e e o f c o n t r o l e x e r c i s e d o v e r t i m b r e i s p a r a l l e le d b y a n e q u a l

p r e c i s i o n i n t h e m o d e o f a t t a ck ( s l u rr e d , d e t a c h e d , o r d i n a r y s t ac c a to , a c c e n t e d ) a n d

i n t h e t e r m i n a t i o n o f t h e s o u n d : c r e s c e n d o s , d i m i n u e n d o s , s t r a i g h t s o u n d s o r

s h o r t e n e d o n e s.

F i n a ll y , o n t w o o c c a s i o n s ( b a r s 1 4 a n d 1 7 ), ( F ig u r e s 8 a n d 9 ), V a r 6s e p r o j e c t s t h e

s o u n d t o w a r d s t h e r e s t b y m e a n s o f a n i m m e n s e c r e s ce n d o , a s h e d o e s i n O c t a n d r e

a l so . T h e s e s o n o r i t i e s o r i g i n a t e in o n e o f t h e e a r l ie s t t y p e s o f e l e c t r o - a c o u s t i c

m a n i p u l a t i o n s , t h a t o f p l a y i n g a s o u n d b a c k w a r d s . T h u s , a n e l e c t r o n ic m o d e l h a s

s e r v e d t o i n s p i r e p u r e l y i n s t r u m e n t a l w r i t i n g .

T h e o p e n i n g o f t h e s e c o n d s e c t i o n ( b ar s 2 4 - 2 8 ) p r e s e n t s o n e o f t h e g r e a t e s t

p e c u l ia r i ti e s o f t h e w o r k : a f i v e - b a r r e s t p u n c t u a t e d b y a f e w v e r y d i s c r e t e a tt a ck s .

T h i s is i n f ac t a p r e m o n i t i o n o f w h a t K a r l h e i n z S t o c k h a u s e n w o u l d l a te r t e r m

' c o l o u r e d s i l e n c e .

T h e s e f e w s e c o n d s o f s il e n ce m u s t n o t b e c o n s i d e r e d a s a b r e a t h i n g s p a c e , a

m u s i c a l i n t e r v a l i n t h e W e s t e r n s e n s e o f t h e u s e o f s il e nc e . O n t h e c o n t r a r y ,

s i le n c e is r e p r e s e n t a t i v e o f n e g a t i v e m u s i c a n d , l ik e th e Y i n a n d Y a n g , t h e o n e

d e p e n d s o n t h e o t h e r f o r i ts m e a n i n g .

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16/87

A s p e c t s o f t h e F l u t e i n t he T w e n t i e t h C e n t u r y

145

L ~ U I

~ . . ~ : . ,

Figure 8

9 9

Figure 9

In bar 24 all the positive, explosive energy released in an enormous crescendo

hurls itself like a contained explosion into this long silence charged with negative

sound energy. This section creates a rare degree of tension, almost as if it is lying

in wait like the birds in the forest which become immobile at the slightest

unfamiliar sound. The genius of the composer is apparent in the simple idea of

emphasizing the silence and increasing its expressive tension by int roducing a few

very small sounds into it. A house at night is never completely silent; the creaking

of a floorboard or the dripping of water into the wash-basin occasionally make the

ensuing silence unbearable. Such is the role of these staccato notes, the majority

of which are linked to key clicks which break the silence and extirpate its

immensity like stars piercing the sky.

& h a r g o l y a r t i c u l a t e d ) i * *

t~ ~ ' ~ s + - _ _ _ .. . r - - - e ~ . + + +

> ~ , ~ d . . ' l ~ . i . . . . ~ , x , ~ . ~

, . ~ ~

5a,

F i g u r e 1

, j ~ _g r .. .

m p .P : ~ m p

Figure 11

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17/87

146

P . Y . A r ta u d

This first example of the use of key clicks against the tube leads once again to

the limits of playing technique.

The calm is followed by a storm. Bars 28 and 30 explode abruptly, exposing the

principle of this second section which, while using the same material as the

opening, will distort it in every sense, sweeping ceaselessly over the entire range

of the instrument.

J:6

Figure 2

The three notes used at the beginning of this section form transpositions of the

opening semitone-tone idea.

The third section, beginning in bar 41, and the coda retain the same character:

abrupt changes of register, nuance and rhyt hm, and var iety of phrasing and attack.

The climax of the work, a rhyth mic d eve lopment of the minor third interval BS-D 6

written in the flute s fourt h octave, occurs between bars 46 and 50.

If the flautists of today, assisted by thei r highly capable instruments, execute this

passage with comparative ease (and this is still not always the case), one must

neverthe less restore it to the context of 1936 in order to realize the risks involved

in such a performance , risks as great as those which ha d been taken in the bassoon

solo of

T h e R i te o f S p r in g

twenty-three years earlier.

These four bars demons trat e clearly Var6se s desire to exceed the narr ow

limitations of the flute which constrained him; for example the

f f f

dynamic which

follows on the low A flat should sound more powerfully than the high D: of

course, Var6se knows tha t this is possible only in the mind, but he rebels an d tries

to ignore it.

The coda of D e n s i t y 2 1 . 5 for its part introduces another example of writing

inspired b y an electro-acoustic model: the filtering of a sound spectrum. The C ~

may be considered as the four th harmonic of a C 1, and the succession of

frequencies which follow it as the successive components of a complex sound

which are supposed to be inaudible.

There is a remarkable recording9 of this piece by the French flautist Ren4 Leroy,

made in the presence of the composer. Throu ghout this final sequence Var6se kept

his foot on the sustaining pedal of a piano causing the sympathetic vibration of the

9 EMS 401 (1950), New York, published in France by Boite a Musique, BAM LDO24 (1956).

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Aspects of the Flute in the Tw entieth Century 147

s tr i n g s, a n d t h u s c r e a t in g a s e n s e o f f il te r in g w h i l e r e s t o r i n g a t th e s a m e t i m e a n

i n c r e a s e d s o u n d s p a c e .

T h e p r o j e c t i o n o f s o u n d i n s p a c e w a s a m a j o r p r e o c c u p a t i o n o f t h i s c o m p o s e r ,

m o re o v e r , w h i c h i s a p p a re n t i n a l m o s t a l l h i s p i e c e s , i n c l u d i n g

De ns i t y 21 5

T h e

s y s t e m a t i c u s a g e o f t h e e x t r e m e r e g i s t e r s c o r r e s p o n d s t o a f a i r l y w i d e d i f fu s i o n o f

t h e l o w e r o n e s , w h i l e t h e u p p e r o n e s , o n t h e c o n t r ar y , a r e p r o j e c te d in a h i g h l y

d i r e c ti o n a l w a y . I m y s e l f c r e a t e d a s p a ti a l v e r s i o n o f

Den s i t y 21 5

a t th e D a r m s t a d t

F e s t i v a l i n J u l y 1 9 8 6 i n c o n j u n c t i o n w i t h t h e F re i b u rg i m B re i s g a u s t u d i o a n d i t s

d i r e c t o r a t t h a t t i m e , P e t e r H a l l e r , w h i c h p ro v i d e s a t o t a l l y n e w a n d c o n v i n c i n g

i n t e rp r e t a t i o n o f t h e w o rk .

T h e p i e c e is, t h e re f o r e , e s s e n ti a ll y o n e w h i c h w o r k s o n t h e p a r a m e t e r s o f th e

s o u n d .

1 . A t t a c k s: t h e s e a r e o f v a r i o u s t y p e s a n d a r e u s e d i n e v e ry re g i st e r.

J n o rm a l a t t a c k

J s u s t a i n e d a t t a c k

a r t i c u l a t i o n b y t h e d i a p h r a g m

a c c e n t u a t i o n

j a c c e n t u a t i o n w i t h i n a s u s t a i n e d

s o u n d

s tacca to

a~ ke y s tacca to , l ike a Bar t6k

p i z z i c a t o

oe

2 . N u a n c e s : t h e s e o p e r a t e i n d e p e n d e n t l y o f r e g is te r a n d s h o u l d b e c o n s i d e r e d a s

a b s o l u t e . T h e y r a n g e f r o m

p p

to

fff

3 . D y n a m i c s : t h e s e o c c u r i n d e f ia n c e o f t h e p o s s ib i l it ie s o f t h e i n s t ru m e n t , o f t e n

going aga ins t t rad i t iona l reac t ions .

4 . T e rm i n a t i o n s o f s o u n d s : t h e s o u n d s a r e c u r ta i l e d i n a r i g o ro u s l y c o d i f i e d w a y :

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19/87

48 P. Y. Artaud

m s t ra igh t

J d e c r e s c e n d o

a c r e s c e n d o t o w a rd s s i l e n c e

a s o u n d i n r e v e r s e )

J s h o r t e n e d , c u r ta i le d s u d d e n l y

g

5 . T i m b r e s: t h e e x tr e m e n u a n c e s a n d v a r i e t y o f t h e p a r a m e t e r s p r e v i o u s l y l is t ed

m a y b e s e e n a s t o g e t h e r c o n t r i b u t in g t o th ~ f o r m a t i o n o f s o u n d o b j e c ts o f

v a r i e d t i m b re s .

6 . R e s t s: r e s t s a r e i n c o rp o ra t e d fo r t h e i r e x p re s s i v e v a l u e a n d c o n s t i t u t e a

tang ib le , s t ruc tura l e lement .

7 . I n te r v al s: t h e s tr u c t u ra l u n i t y o f t h e w o r k i s a c h i e v e d a m o n g o t h e r m e a n s b y

t h e p r e s e n c e o f c e r t a i n p r i v i l e g e d i n t e rv a l s , m i n o r s e c o n d s , m a j o r s e c o n d s ,

m i n o r t h i rd s a n d o c t a v e s , w h i c h s a t u r a t e t h e e n t i r e p i e c e .

8 . R h y t h m s : t h e s e c o n tr i b u t e e q u a l ly to t h is u n i t y a n d p r o c e e d p r in c i p a ll y b y

m e a n s o f d i m i n u t i o n a n d a u g m e n t a t io n :

t _ _ J

I I J

L f

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Aspects of the F lute in the Tw entieth Century 149

T h i s r i g o r o u s t r e a t m e n t o f t h e p a r a m e t e r s o f t h e h i g h l y e c o n o m i c a l o p e n i n g

m a t e r ia l i s c le a r l y r e p r e s e n t a t i v e o f e l e c t ro - a c o u s t ic c o m p o s i t i o n a l p r o c e d u r e . I t is

i n s p i r e d b y t h e s p i r i t o f t h e l a t t e r , e x p l o i t s i t s m o d e l s , a n d c r e a t e s a r e m a r k a b l e

d e g r e e o f te n s i o n i n t h e w o r k t h r o u g h t h e a l m o s t a b s o l u te i m p o s s i b i li ty o f

r e t a i n i n g f o r t h e p e r f o r m e r t h e t o t a l o b j e c t i v it y w h i c h i s r e q u i r e d t o e x e c u t e it.

Den s i t y 21 5 p r o v i d e s t h e f ir st e x a m p l e i n t h e h i s t o r y o f th e f l u te o f a p i e c e w h i c h

t r e a ts t h e i n s t r u m e n t f o r it s i n t ri n s ic , o b j e c ti v e q u a l it ie s . I n a t t e m p t i n g t o s u b l i m a t e

t h e s e q u a l i t i e s , V a r ~ s e f o r c e s t h e f l u t e a n d t h e f l a u t i s t t o a h i s t o r i c q u e s t i o n i n g

w h i c h s o u n d s t h e d e a t h - b e l l o n t h r e e c e n t u ri e s o f o r n a m e n t a l , e l e g a n t w r i ti n g .

F r o m t h i s m o m e n t o n , t h e f u t u r e a p p e a r s w i d e o p e n t o t h o s e w h o a r e a b l e t o

r e c o g n i z e it . T h e e l e g a n t f lu t e , t h e s h e p h e r d ' s r e e d p i p e , t h e c a r e f re e c a p e r i n g s o f

p r e v i o u s c e n t u r i e s a r e a l l o v e r . T h e c u r t a i n h a s f a l l e n o n t h e o l d c o n c e p t o f t h e

f l u t e , d o m i n a t e d b y Syr inx Dens i t y c r i e s ou t , D e n s i t y m a k e s t h e i n s t r u m e n t

e x p l o d e w i t h a d e g r e e o f i n t e n s i t y n e v e r b e f o r e a t t a i n e d . V a r ~ s e d o e s n o t w r i te f o r

t h e f l u t e , h e w r e s t l e s w i t h i t .

O u t o f th i s f i e rc e s tr u g gl e- e m e r g e u n s u s p e c t e d s o n o r i t i e s ; l it tl e b y l i tt le t h e w a l l s

s e e m t o t u m b l e d o w n l e a v i n g a n e w a n d h i t h e r t o u n d i s c o v e r e d f l u t e t o f l o u r i s h .

2 F ive Incan ta t ions by A ndr d Jo l i ve t 1~

W h i l e E d g a r d V a r 6 s e w a s w o r k i n g o n Den s i t y 21 5 i n A m e r i c a , h i s f r i e n d a n d

d i s ci p le A n d r 6 J o l i ve t i n F r a n c e w a s u n d e r t a k i n g t h e c o m p o s i t i o n o f a c y c l e o f fi v e

p i e c e s , f i v e i n c a n t a t i o n s f o r s o l o f l u t e w h i c h I c o n s i d e r t o b e t h e o t h e r i m p o r t a n t

e v e n t i n t h e d e v e l o p m e n t o f f lu t e r e p e rt o ir e a t t h e b e g i n n i n g o f t h e p r e s e n t

c e n t u r y . I t i s i m p o r t a n t f o r d i a m e t r i c a l ly o p p o s e d r e a s o n s , h o w e v e r , f o r if V a r 6 s e

w r i te s a l m o s t a g a i n s t t h e f lu t e , i m p o s i n g o n i t p e r f o r m a n c e t e c h n i q u e s w h i c h w e

h a v e a l r e a d y d i s c u s s e d , J o l i v e t , o n t h e o t h e r h a n d , e n d e a v o u r s t o r e s t o r e t o t h i s

i n s t r u m e n t i t s p ri m i t iv e s p ir it u al a n d i n c a n t a t o r y d i m e n s i o n .

A n d r 6 J o l i v e t' s f a s c i n a t i o n fo r A f r i c a n c i v i li z a ti o n s i s w e l l k n o w n . I t w a s d u r i n g

t h e c o u r s e o f a j o u r n e y i n N o r t h A f ri ca , w h e r e , i n t h e s u m m e r o f 1 9 36 , h e h e a r d

a f l a u ti s t i n B l i d a ( A lg e ri a) i m p r o v i s i n g o n t h e a n c e s t r a l n a y , t h a t h e d e c i d e d t o s e t

t o w o r k o n t h i s c o m p o s i t i o n . I t i s w i t h o u t d o u b t t h e f i r st t i m e i n t h e h i s t o r y o f

m u s i c t h a t a w o r k o f s u c h d i m e n s i o n s h a s b e e n d e d i c a t e d t o t h e s o l o fl u te (s ix t ee n

m i n u t e s m i n i m u m , s i n c e t w o o f t h e p i e c e s a r e o f a l e a t o r i c d u r a t i o n ) .

T h e f i v e p i e c e s , o r r a t h e r p r a y e r s , a r e e n t i t l e d :

1. F o r t h e w e l c o m e o f t h e n e g o t i a to r s a n d t h e p e a c e f u l c o n d u c t o f t h e i n te r v i ew .

2 . T h a t t h e c h i l d w h i c h i s t o b e b o r n w i ll b e a so n .

3 . T h a t th e c r o p w h i c h w i l l g r o w i n t h e f u r r o w s d u g b y th e l a b o u r e r w i ll b e ri c h.

4 . F o r a s e r e n e c o m m u n i o n o f t h e b e i n g w i t h t h e w o r ld .

5 . F o r t h e p r o t e c t i o n o f t h e s o u l o f t h e c h i e f o n h i s d e a t h .

I n t h e s e t i tl e s o n e a s p e c t o f A n d r 6 J o l i v e t' s o r ig i n a l i ty m a y b e f o u n d , f o r, t a k i n g

t h e o p p o s i t e s t a n c e t o h i s c o n t e m p o r a r i e s o r i m m e d i a t e p r e d e c e s s o r s w h o s o u g h t

a r e l a t i o n s h i p w i t h t h e R o m a n t i c o r B a r o q u e p e r i o d s , J o l i v e t a t t e m p t s t o r e -

e s t a b l i s h a d i r e c t l i n k w i t h t h e p r e h i s t o r i c o r i g i n s o f m u s i c ; a n d , f o r t h e f i r s t t i m e ,

10 Recordedby Pierre-Yves Artaud : CD AD DA 581 055.

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t h e s o u n d p a l e tt e w h i c h is u s e d b y J o li v et an t ic i p a te s t h e w o r k s o f T a k e m i ts u ,

T a i r a , H o s o k a w a o r e v e n A h m e d E s s y a d . T h e r e f e r e n c e t o p o p u l a r f l u t e s , w i t h

t h e i r c r u d e s o n o r i t ie s c l o u d e d b y b r e a t h t o n e , a s s e r t s it s e lf a t t h e f i r st h e a r i n g . T h e

r a n g e o f e x p r e s s i o n o f Five Incantat ions i s s o w i d e t h a t i t s e e m s a l m o s t i n f i n i t e .

I n t h e f i r s t i n c a n t a t i o n , t h e f l u t e m a y b e c o n s i d e r e d t o b e o r c h e s t r a t e d i n

p o l y p h o n y r e s u l ti n g f r o m t h e a l t e r n a ti o n o f t w o t y p e s o f m u s i c , t h e o n e l o c a te d in

t h e h i g h e s t r e g is te r i n u n s t e a d y r h y t h m s ( tr ip l et s, q u i n t u p l e ts , s e x t u p le t s) a n d

m i x e d w i t h f l u t t e r t o n g u i n g , t h e o t h e r o c c u r r i n g i n t h e l o w o c t a v e i n a b i n a r y

m a r c h r h y t h m .

T h e s e c o n d i n c a n t a t i o n e x p l o i t s t h e f u l l r a n g e o f a t ta c k s a v a i l a b le o n t h e

i n s t r u m e n t . I t s f o r m i s a s i m p l e A B A a n d t h e m o r e r e s t l e s s , u n s t a b l e a n d a g i t a t e d

t h e A s e c t i o n a p p e a r s t o b e ( i t e v o l v e s a r o u n d a p i v o t n o t e E f l a t 3 ) , t h e m o r e t h e

B s e c t io n c o n t r a s t s w i t h i t t h r o u g h i t s i r r e g u l a r s ta t u r e a n d i ts c o n c e n t r a t i o n o n t h e

e x c l u si v e ly r h y t h m i c a s p e c t o f t h e i n s t r u m e n t .

T h e c e n t ra l p ie c e c o n s is ts s i m p l y o f a m o d a l m e l o d y w h i c h r e p e a t s i ts e lf

u n t i r i n g l y a n i n d e t e r m i n a t e n u m b e r o f t im e s . I t s s i m p l i c i ty c o n t r a s t s fi e r c el y w i t h

t h e e s s e n t i a l a c ti v i t y o f t h e f o u r o t h e r p i e c e s ( l ik e th e e y e o f a t y p h o o n ? ) .

T h e f o u r t h p i e ce , w h i c h i s c y c li c al i n f o r m , i s p r e s e n t e d a s a h u g e m o n o d y - a

m e d i t a t i o n i n s o u n d - t h e r a n g e o f w h i c h t a k e s as i ts p o i n t o f d e p a r t u r e t h e

i n t e r v a l o f a s e v e n t h , C 3 - B 3 a n d c o n t i n u e s t o e x p a n d u n t i l i t e n c o m p a s s e s a l m o s t

a ll t h r e e o c t a v e s w i t h a d e g r e e o f l y ri c is m t h a t r e c al ls t h e s p a t i a l p r o je c t i o n s o f t h e

s o u n d w h i c h o c c u r i n

Densi ty 21.5.

B u t w h e r e a s

Dens i ty

c o n c l u d e s o n a s h r i l l ,

q u e s t i o n i n g f o r t i s s i m o a l s o , t h i s f o u r t h i n c a n t a t i o n r e t u r n s t o i t s p r i m i t i v e s t a t e

w h e n a ll is s a id a n d d o n e , a jo u r n e y in s p a c e r a th e r t h a n i n ti m e - o r p e r h a p s o n e

s h o u l d s a y in s p a c e -t im e ? - w h i c h d e r i v e s n e v e r t h e le s s f r o m a n o t i o n o f

t e m p o r a l i t y i n s p i r e d b y A s i a r a t h e r t h a n b y W e s t e r n s e n s ib i li ti e s.

T h e f i n a l i n c a n t a t i o n , l i k e t h e f ir st , o r c h e s t r a t e s t h e f l u te t h r o u g h t h e u s e o f t w o

p r i n c i p a l t h e m e s . T h e f ir s t i s a c r y o f d e s p a i r , a m o u r n f u l l a m e n t a t i o n , t h e

h e a r t - r e n d i n g n a t u r e o f w h i c h i s e n t r u s t e d t o t h e u p p e r r e g is t er o f t h e f l u t e ( A 4- G

s h a r p S ) . T h e s e c o n d t h e m e r e t u r n s t o t h e m a r c h w i t h i t s r e g u l a r p h r a s i n g a n d

t r e a t m e n t o f t h e f l u t e a s a p e r c u s s i o n i n s t r u m e n t . O n t h e w h o l e , t h i s f i f th

i n c a n t a t i o n c a l l s f o r l a r g e a m o u n t s o f s t a m i n a a n d v i r t u o s i t y .

3 Sequenza by Luciano Berio 1958)11

I n i t i a l c o n t a c t w i t h t h e w o r k r e v e a l s a h i g h l e v e l o f s o n i c i n v e n t i o n w h i c h a s s e r t s

i ts e l f u n q u e s t i o n a b l y a t t h e e x p e n s e o f t h e s y n t a c t ic a n d s t r u c t u r a l r i g o u r o f t h e

p ie c e. T h e u s e o f w i d e l y s e p a r a t e d r e g is te r s a n d e x t r e m e n u a n c e s , t h e s u p p l e

v o l u b i l i t y o f t h e d i s c o u r s e , t h e i n c e s s a n t h e s i t a t i o n o f t h e m a t e r i a l a s it e v o l v e s i n

s u d d e n l e a p s a n d b o u n d s f r o m p o i n t i l l i s m t o m e l o d i c s h a p e i n d e e d c o n s t i t u t e

B e ri o s r e s p o n s e t o t h e e t e rn a l p r o b l e m o f th e m o n o d i c i n s t r u m e n t a n d e s ta b l is h

t h e w o r k i n t h e l i n e o f d e s c e n t f r o m s u c h p i e c e s a s J o h a n n S e b a s t ia n B a c h s s o lo s

f o r t r a n s v e r s e f l u t e . B u t Sequenza i s e q u a l l y p r o p h e t i c o f t h e f u t u r e i n v e s t i g a t i o n s

o f t i m b r e w h i c h c h a r a c te r iz e t h e f o l l o w i n g d e c a d e s a n d w h i c h i n c l u d e m u l t i p h o n -

i c s , f l u t t e r t o n g u i n g , h a r m o n i c s a n d k e y c l i c k s .

11 Recordedby Pierre-Yves Artaud: Fon tec FOCD 3252.

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spects of the Flute in the Twentieth Century

5

Rhythmic notation

Proportional notation, although now familiar, was a complete innovation at the

time. A regular beat M.M. 70) is symbolized by a small vertical line attached to the

fifth line of the stave. The spatial distribution of the notes in time and space

determines the rhy thm and the length of the rests); the duration of each note is

presented graphically also:

f v ]

O

: very short

F : the duration is proportional to the

length of the beam

: aleatoric duration

This notation clearly permits a very precise approach to rhythms which would

have been impossible to quantify in the traditional system, or which would at all

events have proved a stumbling-block to an initial reading. It enables us to

conclude, on the other hand, that in the most virtuosic sections of the work,

gestural activity prevails over strict temporal control. Sequenza oscillates constantly

between these two requirements.

Metronomic movementsigure 3

orm and content

In its formal design Sequenza may be related to a circular form which should not,

however, be confused with the classical ABA form. Rather, the continual

discursive flux, segmented constant ly by the recall of the initial thematic intervals

either literally or allusively by means of their syntactic presentation and articula-

tion should be observed. The coda thus confirms the exhaustion of the possibilities

for the development/variation of the material as it proceeds towards silence.

Sequenza begins with a serial idea which is treated freely, however, and the

ensuing elaboration demonstrates that it would be pointless to enclose the work

within a serial schema at all costs. The series may, however, be found stated

without repetition at the end of the seventh line and at the beginning of the

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P. Y. Artaud

| 7 0 M M

1

1 I 1 l m I

2 ' . P - - -

l i a e _ l

l i n e _ Z Z

Figure

4

eighth. If the analysis were pursued, it would reveal a continuous variation

treatment of the material.

. ~ - P e p ~ ~ [ . . 6 ~ - - ~ . . ~

Figure 5

i l^~

t

I J . , J I J , , J ' L i F - ~ . L L ; F ' L T F : i {t J z l -_ I ' r .

l i r ~ K 5 IB aad 1 7

Figure 6

f -,f:=~-

The ideas determined by Luciano Berio recur throughout Sequenza but they are

altered continually either by contraction or expansion. This phenomenon of

memory is an important element in the unitary perception of the piece and may

be observed on the structural level as much as on the formal one. The sound

material includes several specific techniques which may be conveniently singled

out.

1. The use of rapid tremolandi which are inter rupted abruptly Figure 17).

2. Flutter tonguing around a narrow chromatic interval Figure 18).

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aspects of the flute in the 20th century

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