More than Meets the Eye Derivations and Stratification in Boulez's ‘Don’ (1962) 2021 Marina Sudo.pdf

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MARINASUDO
MorethanMeetstheEye:DerivationsandStratificationin
Boulez’s‘Don’(1962)
ThepoetryandaestheticsofStéphaneMallarméwereanimportantcreative
inspirationfortheearlyandmiddle-periodworksofPierreBoulez(1925–2016).
AfterpreviousexplorationsinLivrepourquatuor(1948–9),theunrealisedplan
ofUncoupdedés,andtheTroisièmesonate(1957–9),BoulezproceededtoPli
selonpli:PortraitdeMallarmé(1957–62,revisedin1982andagainin1989)
forsopranoandorchestra,whichwouldpresentnotonlyasynthesisofhis
studyofMallarméanthought,butalsoasynthesisofhiscreativetrajectory
,comprisingflvemovements–
‘Don’(1960,flrstversion,forvoiceandpiano;1962/1989,secondversion,for
voiceandorchestra);‘PremièreimprovisationsurMallarmé“Levierge,levivace
etlebelaujourd’hui”’(1957/1962);‘DeuxièmeimprovisationsurMallarmé
“Unedentelles’abolit”’(1957);‘TroisièmeimprovisationsurMallarmé“Àla
nueaccablantetu”’(1959/1982);and‘Tombeau’(1959/1960/1962)–exhibits

flliation,whetherachievedbythequotationofexcerptsorbythemanipulation
ofthefundamentalserialmaterials,providesuswitharemarkableexample
ofBoulez’scompositionaldialecticbetweenthesystematicdevelopmentof
,indeed,acentral
problemfacedbycomposersthroughoutthehistoryofWesternmusic:how
shouldonetreatandreformulatethebasicmaterialinanimaginativewaywhilst
stillprovidingasolidstructuralnetwork?
ThepresentarticleaimstoshedlightonBoulez’splanningandrealisation
ofmaterialinthegenesisof‘Don’byfocusingonthecomposer’srenewed
,itwill
beshownthatthework’sstructureisconceivedprimarilyinasymmetrical
andcomplementaryrelationshipwith‘Tombeau’,thoughthisisveiledbya
’sselectionof
materials,whichsuggestsinteractionsbetweentheplanningandtherealisation
ofmaterialsduringthecompositionalprocess.
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360MARINASUDO
From‘Tombeau’to‘Don’:ConstructionofaSymmetricaland
ComplementaryStructure
On17October1959Boulez’sTombeauàlamémoireduprinceMaxEgonzu
FürstenbergwaspremièredastheopeningworkontheSaturdayeveningconcert

,
thecomposeroutlinedinalettertoKarlheinzStockhausenhisplannotonly
torevisethisflrst‘Tombeau’,butalsotocomposeanextensivecyclebasedon
poemsbyMallarméthatwouldincludehisthree‘ImprovisationssurMallarmé’,
whichhehadalreadywritten:‘IhaveenlargedtheplanofmyMallarmé,tothe
extentofmakingalongworkthatwillflnishMallarméformeforsometime
untilIrecoveratasteforthecoupdedés–whichwillbeanessayintotalsynthesis
[…]AtthismomentI’mintheprocessofexpandingtheTombeau(ifIdarerisk
thismacabrecomparison)[…]tothepointofturningitintoamausoleum!!’2It
wasaroundthistimethatBoulezstartedtoconceivethecompositionof‘Don’,
whichinitiallycametofruitioninaversionforsopranoandpianothatwas
premièredinCologneinJune1960aspartoftheflrstappearanceofPliselon
‘completion’ofthePliselonplicycle,
thisversionof‘Don’forsopranoandpianowaswithdrawnsoonafterwardsand

writtensometimeinNovember1960orthereabouts,Boulezdeclares,‘I’mreally
makingDon[jefaisvraimentleDon].’4Logicdictates,therefore,thatitwas
afterthepremièreofPliselonpliinJune1960thatthecomposerstartedthe
full-scalecompositionoftheorchestralversionof‘Don’,whichheconceived
inathoroughgoingrelationshipwith‘Tombeau’,essentiallyforthesakeof
aestheticproportions;thecyclenowstartswithgift/birth(don)followedbythree
‘Improvisations’,anditendswithdeath(tombeau).Theflrstversionof‘Don’
canthusbeviewedasastopgapflrstmovementcomposedforthe1960concert.
Thisintricatechronologymakesthepositionoftheflrstmovementclear
inBoulez’,‘Don’embraces
theotherfourmovements,whichweremoreorlessflnishedbythetimeof
thismovement’scomposition,5similartotherelationoftheninthandlast
movementofLeMarteausansmaître(1952–5),‘Belédiflceetlespressentiments,
double’,
fromthethree‘ImprovisationssurMallarmé’andsecondlybyasymmetrical
andcomplementaryrelationshipbetween‘Don’and‘Tombeau’.Althoughthe
formerisaperceptiblepresentationofthecomposer’svision,thelatter,by
contrast,
paragraphs,Iwillconcentrateonthisstructuralcorrelationbetweenthetwo
movements.
Theprincipleofsymmetrybetween‘Don’and‘Tombeau’ismanifestedatthe
’splanfor‘FindeTombeau=
CommencementdeDon(JoyceFin[n]egansWake)’,6thesamefffftuttichord
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MORETHANMEETSTHEEYE:BOULEZ’S‘DON’361

of‘Tombeau’andsixsectionsof‘Don’(includingtheunrealisedsectione).The
centralbarlinerepresentsthesymbolicaxisofthesymmetry,
soundedatthebeginningof‘Don’andattheendof‘Tombeau’
issoundedatthebeginningof‘Don’andtheendof‘Tombeau’.Thisfully
chromatictwelve-notechord()appearswiththeexactsameregistral
dispositioninthetwomovements,indicatingtheopeningandclosingpointsof
-sectionstructuralframeworkof
bothmovementsisbased,–efor‘Don’
anda–fforthecodaof‘Tombeau’.Allsixsectionsofthetwomovementsare
pairedininverseorder,formingsymmetrywithrespecttotheaxisrepresented
bythetuttichord.(Sectionfof‘Don’,,isnotrealised
intheflnalcomposition;itappearsonlyintheflrstsketch.)
Itisonthebasisofthisframeworkthatthecomposerdevelopedtheflliation
from‘Tombeau’to‘Don’.Itsoverallplanwasdrawnupusingthemultiplication
tables(blocssonores),whichhadalreadybeenemployedin
thecycle‘L’artisanatfurieux’ofLeMarteausansmaîtrebutwasoriginally
conceivedforthetwelve-voiceOublisignallapidé(1952).Multiplicationisone
oftheBoulez’smostimportantcompositionaltechniques,onethatheusesin,
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362MARINASUDO
,withboxesmarkingtheprincipalmaterialsin‘Tombeau’
(sectionsb–f)anditalicisedletters(topleft)

manuscript;PSS,PierreBoulezCollection,MappeF,Dossier2a,5(omittingminor
details).ThispageofthesketchhasbeenpublishedinthefacsimileseditionsofLe
Marteausansmaître(Decroupet2005,)and‘Tombeau’(Piencikowski2010,p.
50)
acdeb
forexample,theTroisièmesonate(1955–7),StructuresII(1956–61),Domaines
(1961–8)andcummingsistderdichter(1970).Itisalsothesubjectofanumber
‘Don’
and‘Tombeau’indetail,inthenextfewparagraphswewillbrieflylookatthe
mechanismofpitch-.
TheexampleshowsflvecolumnsrepresentedbytheGreeklettersΑλ(for
alpha),Βη(beta),α(gamma),ε(delta)andΕπ(epsilon),eachofwhich
containsflvelines:Μυ(mu),Νυ(nu),
ι(chi),ΐμ(omega)andι(pi).In
eachcolumntheflrstline,Μυ,comprisesflvefundamentalpitchclasses,which
arededucedfromdifferentpartitioningsofthebasictwelve-noterow,E–F–D–
C–B–B–A–C–A–E–G–F(,42132forΜυΒη,etc.).All
othercomplexitiesinthelowerlinesresultfromthemultiplicationofonesetof

(),flrstthepitchclassesofthemultiplicandaretransposedtothoseof

higherdensity,
oftheflfthcolumn,Επ(),showsitsmultiplicativeoutline:althoughflve
fundamentalsintheflrstlinearerepresentedastheitalicisedlettersa–e,letter
combinations(ba,cb,dd,ec,etc.)identifytheirtwocompositefundamentals,
thatis,
classesinthetable,however,anothertranspositionneedstobeconductedasa
partofthemultiplicativeprocess–StephenHeinemann(1998)callsit‘complex
multiplication’asopposedtotheaforementioned‘simplemultiplication’.This
additionaloperationhasbeenmorethoroughlyinvestigatedinrecentstudiesby
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MORETHANMEETSTHEEYE:BOULEZ’S‘DON’363
(a)Simplemultiplicationofba
(b)Complexmultiplicationofbabasedonthetransposedmultiplier(T8)
‘Tombeau’
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364MARINASUDO
(Μυ)in
(adaptedfromLosada2008and2014)
CatherineLosada(2008and2014).Whatdistinguisheshercontributionisher

researchonBoulez’ssketches,shecontendsthat‘theschemeassociatedwith
complexmultiplicationisintimatelytiedtothepartialorderinginregisterof
bothfactorsandproductsofthemultiplicationoperations’(2014,).8The
partialorderingmainlyinvolves‘anchornotes’,whicharethelowestnotesof
,forinstance,theanchor
notesareD,B,A,EandF.Theintervalsoftheseflvenotes(ic8,ic10,ic8
andic2)aresubsequentlyutilisedtogeneratethetranspositionalschemeforthe
lowerlines().Whenmultiplyingtwosetsofthefundamentalpitchclasses,
multipliers’anchornotesaresuccessivelytransposedbytheseintervals,T8,T10,
T8andT2,asseeninthecaseofba,
anchornotesleadtothetranspositionofthecompletesetsofmultipliers’pitch

oftheregisteroftheresultingcomplexities:mostofthetransposedanchornotes
aresetinthelowestposition,onwhichtheotherunorderedpitchclassesare
superimposed().9
Suchagenerativeprocessleadsustoanessentialfeatureofthemultiplication
table:thepresenceofmultifoldisomorphicrelationshipsspreadthroughout

secondpartofthisarticletoBoulez’,
whilstconcentratingonhowthecomposerusedthismultiplicationtablein
hiscompositionalstrategy,Ireturntothesymmetricalstructureof‘Don’and
‘Tombeau’.
Thissymmetricalstructurewasinitiallypursuedthroughapositional

thepitchstructureineachpairedsectionof‘Don’and‘Tombeau’(seeagain
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MORETHANMEETSTHEEYE:BOULEZ’S‘DON’365
),Boulezusedthesamesetofcomplexitiesfromthesamecolumn;for
instance(),thematerialfromtheflfthcolumn,Επ,usedinsection
eof‘Tombeau’isalsoemployedinsectionbof‘Don’.Fromthesharedsetof
materialsembracedintherelevantcolumn,the‘principal’pitchesin‘Don’are
selectedtocomplementthoseof‘Tombeau’.Inotherwords,thestructureof
allthesectionsin‘Don’derivesentirelyfromthepositionofthemainsound
blocksassignedtotheflvesectionsof‘Tombeau’(b–f).Forthisreason,the
pitchorganisationfor‘Tombeau’needstoberevealedbeforethecompositional
processof‘Don’isexamined.
(enclosedinboxes)showtheprincipal
materialsfor‘Tombeau’(sectionb–f).Theseoutlinedblockspresentonlythe
fundamentals,and‘commentaries’onthemenabledthecompos