Judith Weir's Instrumental Music as Description

KOAY,KhengK.(2016)JudithWeir’sInstrumentalMusicasDescription.PerMusi.Ed.byFaustoBorém,EduardoRosseandDéboraBorburema.BeloHorizonte:UFMG,n.33,p.59‐78.

59

DOI:10.1590/permusi20163303

SCIENTIFICARTICLE

JudithWeir’sInstrumentalMusicasDescription

AMúsicainstrumentaldescritivadeJudithWeir

KhengK.KoayNationalSunYat‐SenUniversity,Kaohsiung,[email protected]

Abstract: This study explores Judith Weir’s abstract descriptive technique in herinstrumentalmusic,DistanceandEnchantment(1988)forpianoquartetandMusiciansWrestleEverywhere for ten instruments (1994). Folksongs and a location used anddescribedinthemusic,respectively,areinterpretedand“produced”throughmusicalcharactersandmood.Inmostcasesmusicalcharactersandgestureshaveatendencytoassociatemusicalmotiontoarouseimages.Thedecisions,ideasandstylesinthesecompositionsmaybeappliedtoworksinothergenresandherlaterworks,aswell.

Keywords:JudithWeir’smusic;20th‐centurymusic;musicasdescription.

Resumo: Este artigo discute técnicas descritivas abstratas da compositora inglesaJudithWeiremduascomposiçõesinstrumentais:DistanceandEnchantment[Distânciae encantamento] paraquartet compiano, de 1988, eMusiciansWrestleEverywhere[Músicoslutamemtodolugar],paradezinstrumentos,de1994.Cançõesfolclóricaselocais mencionados e descritos na música, respectivamente, são interpretados e“emulados”pormeiodecarátereatmosferas.Namaioriadoscasos,ocarátermusicale os gestos apresentamuma tendência de associarmovimentos com a sugestão deimagens.Asdecisões,ideiaseestilosadotadosnestascomposiçõespodemserverdemodelonainterpretaçãodeobrasemoutrosgêneros,inclusivedesuaproduçãotardia.

Palavras‐chave:músicadeJudithWeir;músicadoséculoXX;músicadescritiva.

Dataderecebimento:03/12/2015.

Datadeaprovaçãofinal:18/03/2016.


60

1–Introduction

Folk songs, folklore, things, events and landscapes have been major inspirational

sourcesforcomposersovermanycenturies,andoftenhavebeenincorporatedintoor

represented in theirmusic. In the late 20th‐century composers generateddifferent

compositionaltechniquestoaddressthemoodofstories,eventsandlocationsintheir

compositions. Some also engaged in various practices and experimentations of

composingabstractmusicaldescriptionsbasedontheseresources.

ItisundeniablethatJudithWeirpossessesacreativemusicalimaginationinsettingup

andcapturingsuchmoodsofstories,poems,folksongs,folkloreandenvironmentsthat

haveinspiredher.Musicalideasandelementsthatdrawfromthesesourcesandother

extramusical inspirations are often found and reproduced in her music, including

instrumentalcompositions.Evocativetitlesarealsogiventoevokeimages.“Shewas

veryinterestedinunusualtextsandpoems…,”saysHolloway.“Shehasaveryspecial

feelingforwordsandatmosphereandmood”(TILDEN,2014).

Thus this study exploresWeir’s abstract descriptive technique in her instrumental

music, focusing on her Distance and Enchantment (1988) and Musicians Wrestle

Everywhere (1994).The twoworksarequitediverse in theiruseof techniquesand

ideas;eachworkhasitsownroleinWeir’sdevelopmentincompositionaltechnique.

Thisessayexamineshowtwofolksongsandalocation,respectively,areinterpreted

and“produced”throughmusicalcharactersandmood.Whattechniquesareusedtoset

theatmosphereandtoprovideimagesinthesecompositions?HowdoesWeirkeepthe

musical culture of the folksongs she quotes? These two compositions certainly

illustrateWeir’sexperimentwithvariousstrategiesofmooddescriptioninhermusic.

Thedecisions,ideasandstylesinthesecompositionsmaybeappliedtoworksinother

genresandherlaterworks,aswell.Thus,thepaperprovidesanunderstandingofher

individuality as a composer, providing greater familiarity with her descriptive

techniquesinherinstrumentalmusic.


61

Indeed,Weirhasexploredpossibilitiesinmusicallanguagethatrenderarichvariety

of imagery descriptions in the two compositions. One musical character follows

another;themusichasatendencytoassociatemusicalmotiontoarouseimages,and

thisisespeciallytrueinMusiciansWrestleEverywhere.Aspectsofmusicalorganization

such as tempo, rhythmic characters, dynamics and texture, and the selection of

instrumentshaveplayedamajorroleinthecompositionstoevokeimagesandsetthe

mood.Distinctmusicalcharacters,musicalgesturesandmaterialsarealsocarefully

selectedtoportrayeventsandatmosphereofthefolksongsandtoconnotepossible

images of location. In addition, some musical associations are employed in

combinationsothateachreinforcestheother;itisparticularlyobviousinherDistance

andEnchantment.

Asishercustom,Weirquotesfolksongsandpoems,developingtheminherownmusic

interpretation.Weironcesaidthat,“fromafairlyearlytimeIwasexperimentingwith

folkinfluences”(HUGHESandWEIR,2005,p.21).Eachmusicalstyleandpresentation

inhermusicdiffersfromoneworktoanother.Herworkswalkthroughthemoodof

the“stories”toldinthefolksongsand“description”ofalocationdifferently,andthat

makesthempleasurableandinterestingtohear.

While language, texts, songs and film or theatermusic have an ability to “imitate”

imagesaidedbyvisualornarrativeelements,instrumentalmusicdenotesverylittleof

theperceivableobjectsorphenomena.ItiscertainlyaninterestingchallengeforWeir

as a composer, sinceher instrumentalmusic constitutes an abstract essence of the

environment.

Bythe1980s,Weirhadwrittenalongcatalogueofvocalworksthatwereinspiredby

stories, texts and poems drawn from European, American and Chinese sources in

differentperiods; forexample,a19th‐centuryhistorical story inKingHarald’sSaga

(1979); an Eastern fantasy inANight at the ChineseOpera (1986‐87); and herOx

MountainWasCoveredbyTrees(1990)basedonasettinginatextbyMencius,athird

centuryBCcommentaryonConfucius.Therearealsoworks thatderive from11th‐

century Taoist texts in herNaturalHistory (1998); Scottish traditional music and


62

folklore such as in ScotchMinstrelsy (1982); Songs from the Exotic (1987); and A

SpanishLiederbooklet (1988), andmany others. In addition, her love of the human

voice is evident through her so many vocal genres of musical works. All these

compositionsnotonlyhavecapturedtheimaginationofWeirwithafreshdisplayof

musicalcharacters,butalsohavedemonstratedhernaturaldramaticgiftandagenuine

urgetotellstoriesthroughmusic.

Weir’s operas and stageworks provide a highly structured ordering of experience.

Plotsandactsarepresentedwithahighlyschematizedandcondensedfocus.Onthe

otherhand,Weiralsoattemptstoinstillherdramaticideasintoherinstrumentalmusic;

she tries to cultivate referential evocative qualities, and constructs moods and

atmospherethatcapturetheenvironmentsthatperfectlysuitaneventoralocationby

which she has been inspired. Folk songs and poems are often used to evoke their

relevanceandenhancethemoodoftheselectedstory.Indeed,bydoingso,hermusic

tellsofanenvironmentataparticulartimeandinaparticularplace.

Indeed,Weirviewsmusicassomethingsimilarto“storytelling”and“narrating.”She

onceremarkedthat“musiciscreatedasmuchinabstractwaysasinnarrativeways”

(BRUCE,2012).Inordertoenjoyperforminghermusic,Weirencouragesmusiciansto

listenandtofindoutthestorythatistoldinthework.VayuNaidu,astorytellerand

novelist,commentedthatWeir“encouragedthemusicianstolistentothestories,to

inhabittheirspace,beforeplayingthemusicshe’dwritten.Itwasn’tjustaboutcoming

inontune”(TILDEN,2014).Moreover,Weiroftenprovidesashortdescriptiontoher

worksasalisteningguideline.Nevertheless,thisapproachmerelyexpressespartially

theinterpretationofherworks,particularlyherinstrumentalcompositions.Acrucial

and ultimate element to our understanding of a composition is determining how

techniques,musicalmaterialandideasarepresentedinthecomposition,findingher

uniquenessofdescribingthework,experiencingtherelationshipbetweenmusicand

stories;throughtheseafullappreciationcanbeachieved.

Weiralwayshasawayto“tell”,“narrate”and“describe”storiesinhercompositions.

Althoughthemusicisabstract,itisneverthelessaccessible.Thefollowingdiscussion


63

willbeginwithWeir’sDistanceandEnchantment, followedbytheMusiciansWrestle

Everywhere.

2‐DistanceandEnchantment

In 1988 Weir wrote her Distance and Enchantment for piano quartet, which was

dedicatedtotheDomusEnsembleontheir10thbirthdayandwaspremieredbythem

at the Wigmore Hall, London, on 26th of September, 1989. The composition was

inspiredbyNorthernIrishandScottishfolksongs:TheDarkEyedGipsy(Figure1)and

Aghaoil,ligdhachaihjgum’mathairmi(MyLove,LetMeHometoMyMother)(Figure

2).

Figure1–TheNorthernIrishfolksongTheDarkEyedGipsy


64

Figure2–TheScottishfolksongAGhaoil,ligdhachaihjgum’mathairmi(MyLove,Let

MeHometoMyMother)The former was from Northern Ireland, and the latter from her native country of

Scotland.Thetwofolksongsdrawonthetragictalesoftwowomen,respectively(WEIR,

ChesterMusic):

Thefirstsong,TheDark‐EyedGypsy,fromNorthernIreland,tellsofa

womanwho,ofherownvolition,leaveshercomfortablehometoroam

theunknownworldwithabandofgypsies;andthesecond,AGhoil,lig

dhachaighgum’mathairmi fromSouthUnist,Scotland,tellsofagirl

whowandersalittletoofarfromhomeonadarknightandisstolen

awaybythefairies.


65

Different musical ideas and sources arising from the two folk themes are used as

buildingmaterial in the composition. Throughout the composition, folk themes are

neverentirelyquoted, instead theyarepresented in fragmentations.AsLisaColton

claims,Weir’s “‘foreign’ traditionsareonly lightlyhintedat rather thanaped.More

subtly, folk music or stories from the British Isles are used as the basis for

contemporaryre‐hearings”(COLTON,2010,p.279).

Indeed,eachmusicalmoodandcharacterinthefolksongisinterpreteddifferentlyin

Weir’s music; expression and musical characters are carefully selected to suit its

atmosphere.Afullmeasurebreakisinsertedatmeasure125,dividingthecomposition

intotwohalves,withthefirsthalfonTheDark‐EyedGipsyandthesecondhalfonA

Ghoil, lig dhachaigh gum’mathairmi. Moreover, themusical presentations of each

folksong are different and somewhat contrasting in ideas. In the first half of the

compositionthereareconstantbreaksinterruptedbyrestsinthepiano,incontrastto

the smoothmusical flow of the strings. This handling is somewhat reversed in the

secondhalf;thesmoothmusicalflowoccursinthepianoandviola.Theviolinandcello

areconstantlyinterruptedbyrestsasthemusicprogresses.

Weir’sgeneralmusicalsettingsaresensitivetothemoodofthetwofolksongs’texts.

To capture themysterious atmosphereof thedisappearanceofpeople themusic is

generallywritten in an intensemood. The first half beginswith somewhat similar

rhythmicpatterns,shortnote‐valuesinsmallgroupsoftwotofourrecurringpitches

withinanoctaverangeinfasttempointhepiano.Itisaccompaniedbystringsinboth

repeatedandlongsustainingnotes(Figure3).Theintensityofthemusicalflowinthe

pianoisfurtherstressedbytheinterruptionofrests,creatingfragmentation.


66

Figure3–AnintensemoodattheopeningofDistanceandEnchantment

Thesecondhalfbeginswithbusy,fastrepeatingquintupletandtripletrhythmicgroup

patterns,with a slight noticeable change of pitches that is introduced in the piano

accompaniment.

Tosomeextent,themusiciswritteninsuchawaythatitissimilartowritingasong;it

tendstohaveamainmelodiclinesupportedbyanaccompaniment.Thisisparticularly

obviousinthesecondhalfofthemusic,wherethereisalong,lyrical,melodicflowin

theviola,withanaccompanimentinotherpartsandpianothatoccasionallydoublethe

melodic line. This type of song‐like writing style can also be seen in her other

instrumental pieces such asArise!Arise!You Slumbering Sleepers (1999) for piano,

violin, viola and cello, and the secondmovement of her PianoQuartet (2000). The

former isbasedonanEnglish/American folksongcalledof thesamename,and the

latterisbasedonaFrenchfolksongcalled“Blanchecommelaneige.”Weir’suseofa


67

song‐writing style in these compositions has its musical rationale, mainly for the

compositions’intimaterelationshiptofolksongs.

Atasurfacelevel,thefragmentationandrecurringpitchesinthepianoattheopening

ofthefirsthalfmaycreateasenseofwonderanduncertainty.Acloserstudyreveals

thatthepitchesB3‐C#4‐D4(withreferencetomiddleC=C4)atmeasures2‐3andD4‐

F4‐F#4atmeasures6‐7,takentogether,formtheopeningofthepitchcontourofthe

folksong,TheDark‐EyedGypsy. Indeed, it isawaybywhichWeir introducesa folk

melody:hinted,ratherthangivingitaway.Thisalsooccursinthesecondhalfofthe

composition.A fragmentof the folkmelody,AGhoil, ligdhachaighgum’mathairmi,

doesnotoccuruntilmeasure259,withaslightdifferenceinpitchcontourfromthe

originalfolksong.

Inthemusic,thereismorethanamatterofthearrangementofpitches.Certainmusical

characters in the composition also show to have significantmeanings, aswell. For

instance,Weirendsthefirsthalfofthemusicbygraduallyfadingthedynamiclevels

awayandeasingthetension,symbolizingtheforeverdisappearanceofthewomanthat

tellsinthefolksong.

Accordingtotradition,thefolksongAGhoil,ligdhachaighgum’mathairmi(MyLove,

LetMeHome toMyMother) isagirlsinging toawater‐horse,which isadangerous

supernaturalinhabitantoftheseaorloch;itoftentransformsintodifferentformssuch

asabeautifulhorse,aponyorahumantoseduceprettyyoungmaidens(GILLIES,2010,

p.431).The“sea”imageandtheflowofthewaterisinterpretedthroughtheuseoffast‐

runningthirty‐two‐notequintupletsinarpeggio‐likeinthepianointhesecondhalf.In

thepast,fast,continuousrunningnotesinrepeatedpatternhavebeenusedinmany

compositionswithsubjectsthatarerelatedtotheflowingofariverorbrook;sufficeto

mention themusical gesture found in “Wohin?” in Schubert’s song cycleDie schöne

Müllerinand“ScenebytheBrook”inBeethoven’sPastoralSymphony.

Despite the fact that therearenocleardefinitivemarkers that indicate the“fairies”

momentinthesecondhalfofthemusic,thereis,however,beginningatmeasure226,


68

an unexpected joyous, sharp contrast in dynamics and dance‐like moment in all

instrumentalparts,withheavyshiftingofaccentsandemphasisonweak‐beatswhich

might suggest the seducing activities of “fairies.” This moment certainly creates a

dramatictensionthatcatchestheattentionofthelisteners,andseeminglyinterprets

aneventthathashappenedinthe“story.”

Inaddition,although there isnostraightforwardrepresentationsuchaswordsand

lyricsinherinstrumentalpieces,Weiroftenbringsbackmusicalmaterialsfromher

song collections as a way as to provide a clue, establishing clearer images and

interpretationsinthemusic.Forexample,inthefirsthalfofthecomposition,beginning

at measure 94 in the piano accompaniment, the arpeggio‐like musical gestures in

contrarymotion recall a similarmusical gesture that was introduced in the piano

accompaniedpart inTheGypsyLaddie inherearlysongcollectionScotchMinstrelsy

(1982).Thus,itisnotdifficultforonetoidentifyandassociatesuchamusicalgesture

asagypsycharacter.Similarly,thefour‐note(C4‐E4‐F#‐G)(Figure4)pitchcontourat

the endof the secondhalf is alsoquoted fromhervocalwork,TheSongof theGirl

RavishedAwaybytheFairies intheSouthUbist, fromanearlysongcollection,Songs

fromtheExotic(1987).Indeed,thefragmentsofsongscanfunctionasreferencesfor

herinstrumentalmusic.


69

Figure4–Thefournote(C4‐E4‐F#‐G)pitchcontourbeginningatmeasure259inthe

DistanceandEnchantment

Interestingly,notonlyaremusicalideasandstylesderivedfromherpreviousworks,

buttheyarealsore‐employedandreintroducedinherlaterworkssuchasthesecond

movementofherIBrokeOffaGoldenBranch(1991)forpiano,violin,viola,celloand

bass,andtowardstheendofthesecondmovementofherPianoQuartet(2000) for

pianoviolin,violaandcello.Similarly,somemusicalmaterialsfromherStringQuartet

(1990) are recalled from her early songs on the medieval Spanish romances and

balladsfromBanffshire,Scotland.Weirviewsherownsourcefromherearlymusicas,

to someextent, amodel forhernewcompositions;oneworkcanalsobe seenasa

sourceandstylisticreferenceforherlaterworks.

InkeepingwiththeIrishandScottishmusicaltraditionsinthefirsthalfofherpiece,an

up‐beatiswellsuitedtobegintheopeningofthecompositionandachangeofmusical

characters;anexamplecanbeseenatmeasure54.Indeed,likeinmanyIrishfolktunes,

asTravisclaims,“thebroadoutlinesofrhythm,suchasbeatpatterns,arequitesimple

inIrishmusic.Tunesofalltypesopenalmostinvariablyontheup‐beat”(TRAVIS,1938,


70

p.464). In fact,notonly isanup‐beatemployedbyWeir,butshealsocomposesthe

soundthatcapturesthemusictraditionsofIrelandandScotland,sincefolkmusicwas

oftenrelatedtonationalculturesandsounds.Althoughshedoesnotemploytraditional

instrumentssuchasabagpipe,asustainingsoundlikeadroneisusedinthemusic.

AnneLorneGillisoncewrotethat“threemusicalinstrumentsaredirectlyassociated

withGaelictradition:Clàrsach(orsmallCelticharp),fiddle,andthebagpipes,”andthe

links between “Gaelic singing [folksongs] and the bagpipes are, quite simply,

inextricable” (GILLIES, 2010, p.xxiv, xxv). An example in the composition is at the

openingofthemusicwhereallthestringinstrumentstaketurninkeepingasustaining

noteonB3withun‐noticeableaddedpitches,creatingadroneeffect.

Becausethemusicisassociatedwithfolksongs,traditionalscalesandmodesareused

toreinforcethemusicalcontent.Anexamplecanbefoundattheopeningtwophrases

(measures1‐9)ofthesectionwherethemusicseemstoprovideasenseofBminor

witha raised fourth (orAeolianwitha raised fourth).Anotherexample isbetween

measures23‐28wherethemusicseemstoprogressthroughtheBmelodicminorscale.

Nevertheless, ingeneral, theambiguity inharmonic function iscertainlyevident. In

otherwords,themusic istonalbutnotbasedonharmonicprinciples.Nevertheless,

Weir’smusicisstillverycomprehensible,eventhoughshedoesnotuseanyexisting

melodiesortexts.

AdifferentwayinwhichWeirdeploysmusicaldescriptionandcontinuestoexercise

acreativeimaginationinherinstrumentalmusicisevidencedinherMusiciansWrestle

Everywhere (1994). Daily routines, events and ideas are triggered by sound and

transformed into images,allowingeach individual listener tomakehisorherown

visualimageandemotionalassociation.

Thecompositionwascommissionedunderthe“SoundInvestment”scheme.Itisaone‐

movementworkfortenplayersandisscoredforflute,oboe,clarinet,bassclarinet,

horn, trombone, percussion, piano, cello and bass. The work was written for the

Birmingham Contemporary Music Group, and was first performed by that Group,

underthedirectionofAndrewParrott,inBirminghamin1995.


71

The title of this composition comes from a poem Wrestle Everywhere by Emily

Dickinson,whichwascompletedin1924.Thepoemdescribesambientsoundssuchas

singing birds, brass bands and church hymns surrounding the poet at her beloved

Amherst.Whatisinterestinginthispieceisthatshehastriedadifferentapproachin

ideas;sheconceivesimagesofherownsurrounding,revealingtheenvironmentand

complicated livingstyleofhercommunity.These imagesaredescribednot through

words, but music. It is a challenge to Weir both in compositional writing and

imaginative power. Indeed, in instrumental music composers can only illustrate a

succession of moods and atmospheres; how the listener discovers the meaning

dependsonhowwelltheideasandmaterialsareexploitedandpresentedinthemusic.

Today, living in amodernworld, one experiences various sounds surrounding us,

includingnoise.Inadditiontosoundsofsingingbirdsandchurchhymnsaspresented

inthepoem,Weirhearsnoisesofthewakingtown;peoplepassing‐byandcrossing

theroadtalkinginallsortsoflanguages;thedailynoiseoftraffic;shopsopening;a

mixtureofsounds inthestreetmarkets—allthesoundstowhichshe issensitively

attunedinabusyday.Shesaid(WEIR,programnote),

Although much of my previous work has been based on exotic folk‐song

traditionsoftheworld,IhaveoftenwonderedifIcouldwritedownthestreet

musicofmyownurbanenvironment.Tothisend,Istartedtakingnoteofsounds

thatcaughtmyearasIwalkedaroundathome.AtfirstIundertookthisexercise

inasatiricalspirit, thinkingof thepastoral tradition inmusic, fromVivaldi’s

FourSeasonstoMaxwellDavies.Wheretheyheardtrillingbirds,trillingbrooks

and fragrant showers of rain, I heardwind turbulence froma nearby traffic

intersection,Nigerianpopmusicoutofatowerblock,andwindchimesinthe

backgardenofacrumblingsquat.

Probablynothingrecognizableofsuchinspirationscanbeheardinthemuch‐

developed musical language of Musicians Wrestle Everywhere, but I feel

personally affectionate towards this material which originates, however

distantly, in theexotic landscapesofLondonSE17.Whilewritingthepiece, I

discoveredEmilyDickinson’spoem,whichseemstosuggest,intheverymodern


72

wayofCageandFeldman,thatmusicisallaroundusifweonlycaretolistento

it.

3‐MusiciansWrestleEverywhere

Withadesiretodepicthersurroundingenvironment,Weirreflectsthesoundsofthe

streetsofLondoninMusiciansWrestleEverywhereforflute,oboe,clarinet,bassclarinet,

horn,trombone,percussion,piano,celloandbass.Differentmusicalstyles,ideasand

charactersareemployedtoprojectthemodernandcosmopolitancity.Indeed,inthe

music,aparticularmusicalgestureandpatterngiveussomepossibleideasandimages

of what Weir intends to describe. The compositional techniques used in the

compositioncertainlycontributemuchtothemodernpointofview.Tosomeextent,

tonepainting,textureandinstrumentalarticulationsareskillfullyutilizedtoprovidea

richersenseofimagesofwhereshelives.

Hermusicaldescriptionsinthecompositionaresetfromonemomenttoanotherby

stylistic changes andmeasure breaks. There is an immediate sense of a beginning,

musically. The repeated rhythmic pattern inpizzicato is somewhat fast‐paced, and

indicatesawayofstartingWeir’smusicaldescriptioninthecomposition,givingriseto

animageofthebeginningofabusyday(Figure5).Thisopeningfastfigurationalso

createsan illusionof speed that is reminiscentof fast‐pacewalking.Suchamusical

methodbringstomindSchubert’sHeidenrösleinandmanyotherworkswith“walking”

musicalgestures.Indeed,Weironceclaimedthat“Schubert'sworldisaplacewhereI

canfindconstantinspirationandstrength”(WEIR,PianoTrio).

Figure5–Animageofthebeginningofabusydaywithfastwalking‐paceatthe

openingofMusiciansWrestleEverywhere


73

In fact, throughout the music different musical gestures in repeated patterns may

suggestwalkingbass‐likestyles.Examplescanbeseenbeginningatmeasures123,131,

207and236;eachofthe“walking”ideasvaryfromothersinmusicalcharacters,tempo

andarticulations.Moreover,whatWeirintroduceshereisdistinctlydifferentfromthe

BaroquemusicalfashionsfoundinArcangeloCorelli’sTrioSonatas.Irregularrhythmic

patterns and off‐beat stresses are emphasized in her composition, giving rhythmic

energythathasalivelyandjazzymanner.Therearetimeswhenmusicaleventsare

constructedentirelyfromwalkingbass‐likepatterns;forexample,theopeningpassage

ofthepieceandthemusicaleventthatoccursatthebeginningatmeasure207(Figure

6).

Figure6–Walkingbass‐likepatternsbeginningatmeasure207inMusiciansWrestle

Everywhere

Inaddition,theopeningwalking‐bassinarchormordent‐likemusicalcontour(C‐G‐C)

functionsasabasicideaandasbuildingmaterialforthemusic,connectingtheentire

composition.Forexample,anopeningofalyricalmelodythatbeginsatmeasure69in

horn and a newmusical character that begins at measure 207 are written in this

musicalcontour.


74

BecausewhatWeirdepictsistheenvironmentofamodernandcosmopolitancity,and

inordertointerpretthesoundsofherneighborhood,sheembracespopularidioms—

forexample,theNigerianpopmusicemanatingfromatowerblock.Groupsofpitches

areeitherpresented in leaps,orareoftenseparatedbyrests inavigorousmanner.

Recurring triplet figures are heavily employed, especially at the opening of the

composition.Rhythmicenergyiscreatedthoughpop‐likeoff‐beat,irregularaccented

markings,syncopationandlivelyrhythms.Thismusicalfashionisalsoformed,inpart,

bytheenvironmentinwhichshegrewup.Weirencounteredpopmusicalcultureata

youngage.“WhenIwasgrowingup,thefirstnewmusicthatIheardwasinthe1960s

and,asweknow,therewasquiteadoctrinairemodernmusicscenethen.Istilllikea

lotofmusicfromthe50sand60sandenjoytherareoccasionstohearmajorworks

fromthatperiod,”shesaid(BRUCE,2012).

Weirisagreatobservantcomposerwhohasmademanysignificantsoundsinmusic

thatevokesimages.Forinstance,sheusespercussioninstrumentssuchasmetalcoil,

glockenspielandcrotalestocreatewind‐chimesounding.TherearetimeswhenWeir

clearlyimitatesthesoundofchimesblownbythewind.Apitchoragroupofpitches

in irregularrhythmicpatternswithdifferentnote‐valuesandtempoareemployed,

creatingimagesofthechimesblownbyabreeze,orbyastrongwind.Anexampleis

thegentleswingingchimesoundpresentedatthebeginningofmeasure99;eachpitch

thatisseparatedbyrestsispresentedbetweenmetalcoilandcrotales.Thislightand

gentleswingingsoundisheardasifthechimeismovedbyabreeze.

Indeed, Weir’s pictorial writings are drawn on for different musical ideas. Every

descriptionmadeandarrangedtendstorendersomepossibleimages.Instruments

arecarefullyselectedtoproduceaparticularsoundscape.Maraca,forexample,isused

tosimulatethesoundofnaturethatcanbecomparabletoacicadasound.Itoccursat

thebeginningofmeasure207,alongwiththewalkingbass‐likegesture.Thismusical

eventmaygiverisetoanimageofapark,garden,orplacesfulloftrees,whichare

oftenevokedandassociatedwithlisteners’dailyexperience.Weir’slovefornatureis

evident; she “bikes around London and is a keen walker and very proud of her


75

allotment,” and she and VayuNaidu “frequentlywalk their pets together in south

Londonparks”(TILDEN,2014).

Maracasareoneofthemostrecognizablepercussioninstrumentsthatarepopularly

usedinLatinAmericaandCaribbeanmusicalcultures.Theyareoftenemployedinthe

rhythmsectionofLatinAmericandancebandsandcanalsobefoundinWesternpop

bands.Weirmaybeusingthisuniquesoundcolouroftheinstrumenttobringtomind

thediverseethniccultureinthecity.

Indeed, our surroundings are differentiatedby various rates ofmotion and tempo

occurringsimultaneously,suchasthemotionoffast/slowinourdailyliving.Thisis

alsoillustratedinthemusic.Beginningatmeasure69,whileotherinstrumentsare

livelyandagileinmusicalcharacters,alyricalmelodiclineinlong‐notevaluesandtie‐

notesisintroducedinhorn,showingapparentcontrastbetweenthehornandother

instruments.Therearealso timeswhensimultaneouslyeach instrument isgivena

differentmusicalactivity,repletewithadynamicoflifeimagery.Indeed,themusicis

writteninsuchawaythatitisasifWeirwantstoportrayacityenvironmentthatis

fullofactivityandeverybodyhasaroleinit.

Throughoutthecompositiontheflowofmusicisofteninterrupted.Thisisparticularly

evidentbeginningatmeasure102,wherethemelodiclineinhornisoftencutoffby

theothermusicalideasinwoodwindsandstrings.Althoughitisimpossibletoclaim

outrightwhatWeirhadinmindwiththismusicalhandling,itdoescreateasenseof

responses to distractions one encounters everyday. Indeed, everymomentwe are

lightly distracted bymobile devices, traffic noises, loudmusic, and other possible

soundsandthingsthatsurroundedus.

Weirhasdepictedmorethanoneexpectedinthemusic;intriguingideasarepresented.

Herconclusionisnotamereending.Althoughthedynamiclevelsdecrease,andthere

islessmusicalactivityandthetextureisthintowardstheconclusion,themusicdoes

notsoundasifending;itconcludesonaweek‐beatinshort‐notevalueinthefluteas

ifthereismoretocomeafterthemeasure,symbolizingthecontinuationofeveryday


76

soundsthatneverend.Althoughdepictingthesoundofamoderncity,themusicdoes

notsoundabstractlikeinamodernistpiece;instead,themusicalwritingisrelatively

conventional. Like many of her compositions, although no strict conventional

harmonicfunctionisemployed,themusicheretendstobeginandendinCminor.The

pitchCisalsostressedthroughoutthemusic.Attimesthemusicsoundsdiatonic.Weir

oncesaid(BRUCE,2012),

Iwasoneof the lastgeneration tohavebig timeharmonyandcounterpoint

training…Tonalmusicformemeansaparticularsystem,sowhatIdoisn’tlike

thatinmymindandthereforeIfeelthere’snottoomuchdangerofmywriting

derivativetonalmusic,becauseI’mnotworkinginthatidiom.Moreoftenthe

harmonycomesoutofamodeoraseries.

Significantly,Weirpreferstobeconservativeinmusicalhandling.AswithherDistance

andEnchantmentandmanyofherothercompositions,itisevidentthatsheaimsto

communicatewithheraudience.

4‐Conclusion

WhatIhaveintroducedrevealsWeir’screativeprocess.Withherpassionforsetting

up moods for stories and images Weir has created some kind of descriptive and

stylisticwriting that separates hermusic from other contemporary composers. In

thesecompositionsshetransformssentimentintoactionthroughmusicalexpression.

Each musical characteristic varies from one work to another and even between

movements. Musically, it is relatively conventional; tonal and modal language is

employed.

InDistanceandEnchantment,Weir’sthematicborrowingsarealessvisiblepartthan

adeeperdependenceonherownsources.Severaldifferentmusical techniquesare

involvedhere.Fragmentsofthefolkthemesareemployedandgivenanopportunity

for a fresh presentation. The incorporation of existing songs of her own into the

compositionisusedasawaytoassociatemeaningandevokeimages.Musicalgestures


77

anddynamicsareemployedtocapturethemoodofthefolklore.Dronesound,modes

andscalesareusedtoreinforce theculture.These techniquesareall carefullyand

aptlytiedtogether,providingnotonlyuniquemusicalcontextsanddescriptions,but

alsodramatictensioninWeir’smusic.

Inaddition,Weir’sabilitytorestructurefolkmelodiesinfragmenting,paraphrasing

themand to recallmusical ideasalsoallowher toexploit similarities in tunesand

musicalcharacterswhicharemelodicallyandtextuallyrelatedinseveralofherearly

and later works. Weir intends her sources to be audible, and with these musical

referencesalisteneriscapableofunderstandingthepiece.Ontheotherhand,without

any associationwith folk songs,MusiciansWrestleEverywhere reaches us through

musical imagery description that can be related to our everyday experience. The

music represents a unique combination of what she has heard. Percussion

instrumentsareusedtoproduceambientsounds.Distinctrhythmicactivitysuchas

repeating musical patterns that are reminiscent of walking‐pace is employed.

Rhythmicgesturesinanagileandajazz‐basedmannermayalsodepictNigeriapop

musicalcultures.Indeed,soundsofeverydayactivityexistinthebackgroundofour

livesandhavebeeninterpretedinthecomposition.

Simultaneousmusical activities in various rates of motion and tempo in different

instruments, anddistraction and rupture occur to interrupt the flowof themusic,

whichmayalsogeneratepossibleimagerythatportraysthedynamicoflifeinacity.

Indeedbeyondthewords,Weirhassuccessfullyutilizedsoundstodemonstratethis

in thecomposition.Listenerscan freelyandinan individualizedwayformavisual

experience.

WhatWeirhasdone in thecomposition isonestepdeeper thanmerelymattersof

pitch and rhythm; she evokes images in her music, creates musical meaning and

communication.Indeed,likeapoet,sheoftenmanipulatesmusicalsyntaxtoengender

meaning in her instrumental music, linking sound to our daily experiences. Her

descriptiveworksnotonlyprovidethelistenerswithdifferentmusicalexperiences,

butalsohavecontributedtothecourseof20th‐centurymusic.


78

ReferencesBRUCE,David.(2012)JudithWeirInterview.Composition:Today,19February2012.(Accessed:December7,2013).http://www.compositiontoday.com/interviews/judith_weir.asp

COLTON,Lisa.(2010)TheFemaleExotic:Tradition,Innovation,andAuthenticityintheReceptionofMusicbyJudithWeir.ContemporaryMusicReview,vol.29,no.3(Dec).p.277‐289.

GILLIES,AnneLorne.(2010)SongsofGaelicScotland.UK:BirlinnLimited.

HUGHES,BernardandJudithWeir.(2005)JudithWeirinConversation.Tempo,vol.59,no.234(Oct).p.20‐27.

TILDEN,Imogen.(2014)JudithWeir:thefemalemusicmasterwithroyalsealofapproval.TheGuardian,July3,2014.(Accessed:April8,2015)http://www.theguardian.com/music/2014/jul/03/judith‐weir‐master‐of‐the‐queens‐music‐candidate

TRAVIS,James.(1938)IrishNationalMusic.TheMusicalQuarterly,vol.24,no.4(Oct).p.451‐480.

WEIR,Judith.DistanceandEnchantment.ChesterMusic,CH60854.

_____.ProgramnotesbyJudithWeir.(Accessed:April8,2015)http://www.musicsalesclassical.com/composer?category=Works&workid=2746

_____.ProgramnotetoPianoTrio.(Accessed:July3,2015)http://www.musicsalesclassical.com/composer?category=Works&workid=2746

NoteabouttheauthorKhengKeowKoayisanAssociateProfessorofMusicologyintheSchoolofMusicatNationalSunYat‐senUniversity,Taiwan.Herresearchinterestsfocusonthelate20th‐and‐early21stcenturies.Koay’sarticlesandchaptersappearinnumerousscholarlyjournalsandbooksandhavebeenpresentedatseveralinternationalconferences.SheistheauthorofTracingtheBeats:TheFusionofAmericanVernacularandWesternArtMusic(2012),andTheKaleidoscopeofWomen’sSoundsinMusicoftheLate20thandEarly21stCenturies(2015).

Judith Weir's Instrumental Music as Description

Documents

Transcript of Judith Weir's Instrumental Music as Description