The Style Incantatoire in André Jolivet’s Solo Flute Works Eastman Theory Colloquium – October 12, 2018 Stephanie Venturino (Eastman School of Music)

sventuri@u.rochester.edu

Figure 1. Eight essential arabesque attributes (Bhogal 2013, 109).

Figure 2. Late Debussyan arabesque taxonomy, modified from Bhogal 2013.

Conventional Arabesque Music Space (adapted from Bhogal 2013, 109)

• Solo melody • Soft dynamics; musty timbre • Register • Succession • Tessitura; patterned ascending and

descending motifs • Temporal duration • Metric instability • Short rhythmic values

Late Arabesque

Music Space

Rhythm/Meter •“emerging pattern of metric accents” (282)

•“lack of interference with aspects of meter” (281)

Dynamics •“loud to soft” dynamic shape (281)

•“a dynamic trajectory” (282)

Harmony •“a strong harmonic drive” (283)

Contour/Range •expanded range •tendency to ascend

Instrumentation •solo and ensemble context

•not restricted to winds at soft dynamic

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Figure 3. Narrow tessitura and 11-spans emphasized in the single Incantation, mm. 1–2.

Figure 4. Pervasive chromatic motive, duple/triple rhythm juxtaposition, and frequent tied notes in the single Incantation, mm. 2–4.

Figure 5. Modulation from descending to ascending arabesque in the single Incantation, m. 5.

Venturino 3

Figure 6. Continuity and metric ambiguity sans the rhythmically fluid chromatic lines and narrow tessitura of conventional arabesque in the single Incantation, systems 1–2 of m. 6.

Figure 7. Frequent directional variance, spatial development, motivic unification, and lack of teleological development in Ascèses, mvt. 1, mm. 1–3.

Figure 8. Arabesque confirms chromatic aggregate completion on B5 in Ascèses, mvt. 1, m. 3.

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Figure 9. Arabesque solidifies Eb’s multi-registral prominence and provides gradual registral expansion in Ascèses, mvt. 1, m. 7.

Figure 10. D and Eb pivot-notes introduced in the first Incantation, m. 1.

Figure 11. Opposition between pivot-notes D and Eb in the second Incantation, mm. 1–9.

Venturino 5

Figure 12. Modulation to D in the second Incantation, mm. 29–33.

Figure 13. Pivot-note Eb’s return to prominence in the second Incantation, mm. 59–60.

Figure 14. Pivot-note juxtaposition and summary gesture in the second Incantation, mm. 64–65.

Figure 15. Modulation to G foreshadowed in the single Incantation, m. 5.

Figure 16. Modulatory figure in the single Incantation, end of m. 5.

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Figure 17. Organization via small-scale limited macroharmony (mm. 1–11) and movement-wide unlimited macroharmony (completion in mm. 13–15) in the first Incantation.

Figure 18. Harmonic unity, row manipulation via chromatic summary gesture, and links to the movement’s opening in the first Incantation, mm. 11–17.

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Figure 19. Complete/incomplete chromatic collections juxtaposed in Ascèses, mvt. 1, mm. 7–8.

Figure 20. Large-scale unlimited macroharmony in Ascèses.

Venturino 8

Selected Bibliography

Bhogal, Gurminder. 2013. Details of Consequence: Ornament, Music, and Art in Paris. New York: Oxford University Press.

Chevalier, Jean, and Alain Gheerbrant, eds. 1982. Dictionnaire des symboles. Paris: Robert Laffont.

Conrad, Bridget. 1994. “The Sources of Jolivet’s Musical Language and His Relationships with Varèse and Messiaen.” Ph.D. dissertation, City University of New York Graduate Center.

Fulcher, Jane. 2005. The Composer As Intellectual: Music and Ideology in France, 1914–1940. New York: Oxford University Press.

Godwin, Joscelyn. 1995. Music and the Occult: French Musical Philosophies, 1750–1950. Rochester: University of Rochester Press.

Harrison, Daniel. 2016. Pieces of Tradition: An Analysis of Contemporary Tonal Music. New York: Oxford University Press.

Hughes, H. Stuart. 1968. The Obstructed Path: French Social Thought in the Years of Desperation: 1930–1960. New York: Harper & Row.

Jolivet, André. 1947. “Musique et exotisme.” In L’exotisme dans l’art et la penseé, edited by Roger Bezombes, 159–160. Paris: Elsevier.

———. 1955. Concerto for ondes martenot et orchestre. Interview by Bernard Gavoty. Les jeunesses musicales de France, January 1955. Paris: Archives André Jolivet.

———. 1960. “Aspects de la musique française contemporaine à travers l’oeuvre d’André Jolivet.” Handwritten lecture notes. Paris: Archives André Jolivet.

———. 1961. Entretiens avec André Jolivet. Interview by Antoine Goléa. Radio France, April–May. Paris: Archives Daniel Lesur.

———. “Réponse à une enquête: André Jolivet, ou la magie expérimentale,” La Revue musicale 306–307 (1977): 19–22.

Locke, Ralph. 2007. “A Broader View of Musical Exoticism.” The Journal of Musicology 24, no. 4: 477–521.

Mawer, Deborah. 2008. “Jolivet’s Search for a New French Voice: Spiritual ‘Otherness’ in Mana (1935).” In French Music, Culture, and National Identity, 1870–1939, edited by Barbara Kelly, 172–193. Rochester: University of Rochester Press.

Messiaen, Olivier. 1986. Musique et couleur: Nouveaux entretiens avec Claude Samuel. Paris: Belfond.

Moindrot, Gérard. 2000. Approches symboliques de la musique d’André Jolivet. Paris: L’Harmattan.

Rouget, Gilbert. 1985. Music and Trance: A Theory of the Relations Between Music and Possession. Chicago: University of Chicago Press.

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Rousseau, Jean-Jacques. 1970. Essai sur l’origine des langues, où il est parlé de la mélodie et de l’imitation musicale. Edited by C. Porset. Bordeaux: Ducros.

Schorske, Carl. 2014. Thinking with History: Explorations in the Passage to Modernism. Princeton: Princeton University Press.

Tuchman, Maurice. 1986. “Hidden Meanings in Abstract Art.” In The Spiritual in Art: Abstract

Painting 1890–1985, 17–62. New York: Abbeville Press.

Tymoczko, Dmitri. 2011. A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice Period. New York: Oxford University Press

Vivier, Odile. 1973. Varèse. Paris: Editions Du Seuil.

Whittall, Arnold. 2003. Exploring Twentieth-Century Music: Tradition and Innovation. Cambridge, U.K.: Cambridge University Press.

Zubillaga-Pow, Jun. 2017. “Jolivet’s Beethoven: Supplementarity, Topicality, and Alterity.” In Historical Interplay in French Music and Culture, 1860–1969, edited by Deborah Mawer, 198–213. New York: Routledge.