Ancient Sound (No. 165 from Paul Klee : Painted Songs)

Ancient Sound (Alter Klang, 1925)

for Indeterminate Ensemble

No. 165 from Paul Klee : Painted Songs

Jonathan Posthuma

2

About Paul Klee: Painted Songs Paul Klee: Painted Songs is an ongoing series of instrumental chamber works inspired by the visual art of Paul Klee.

The series began in 2011 as a composition assignment from my first composition teacher, Luke Dahn, who asked all of his students to compose a work for clarinet and piano inspired by the iconic "Twittering Machine." Over the years, I have added to the series, continuing to draw on the wealth of inspiration from Klee's images, which are filled with musical references, textures, colors, and symbols that closely link musical concepts with his Klee's philosophy of visual art. To me, these pieces are musical settings of visual poetry, hence "painted songs." What continues to fascinate me about Klee is both the diversity and consistency of his total body of work. Throughout his vast career, certain ideas continue to resurface and find new applications. In this spirit, Paul Klee: Painted Songs continues to expand, ever exploring the poetry of his work through musical interpretation.

Performing Paul Klee: Painted Songs Each piece within Paul Klee: Painted Songs can be performed separately and is considered an independent, freestanding musical work. But, performers are encouraged to recontextualize these pieces into "galleries." Like a curator of an art gallery, performers can combine these works in any order or number, interpolate them with other works by other composers, or arrange them for different instrumental forces. Some pieces are more flexible than others, but the full work is designed to be self-referential and open to interpretation. As the series grows larger, I have aided "curators" by arranging and composing my own "galleries," multi-movement works that were conceived together, but even these can be rearranged and will evolve as more "painted songs" are added to the series and developed in collaboration with performers.

About "Ancient Sound (Alter Klang, 1925)" A grid of varied hues, ranging from vivid orange, yellow, green, brown, and black, provide a visual polyphony. The regularity of the columns and rows creates a consistent rhythm, allowing color and texture to define shape and contour instead of line. A journey through these colored squares reveals a shifting landscape of near infinite variation.

Performing "Ancient Sound (Alter Klang, 1925)" "Ancient Sound" is listed as No. 165 in the Paul Klee: Painted Songs series and is planned as the final piece. The 165 squares of color represent the series itself, with each cell being its own canvas -- a self-contained universe that still belongs to a tapestry of sound. Because of the abstract, indeterminate, nature of the score, this "ending" to the series is more of an invitation to explore endless possibilities.

In performance, any number and type of instrument is permitted, though the texture of the piece would be best with at least four or five players and may be unwieldly with more than thirty. Following the score are further instructions that may shape the interpretation of the piece, but at its core, it should remain open and indeterminate. As with all indeterminate or improvised work, it is important to determine the overall shape of the work beforehand, then a few structural points of reference (e.g. beginning, growth, decay, ending, e.g.), and then, of course, listen deeply and let the sounds themselves be the leader.

3

Score in C

Ancient Sound (Alter Klang, 1925) No. 165 from Paul Klee : Painted Songs

e = ca. 60 A

& b˙

1

mp

2

& bw

& bw

& ˙™

n˙ ™

A

& bœ

A

mp

6

& œ

A

& œ

A

8

9

& ˙

A

& Ϫ

A

& Ϫ

A

pp

Ϫ R

w

pp

C

˙™

f

C

˙

f

pp

˙™ ppp

Ϫ J

ppp

bœ ™ J

C

˙™

C

˙

Ϫ pp

bw

E

f

p

bw

D

D

#œ

D

œ

D

˙ ppp

w

G

p

pp

w

p

E

F

G

œ ppp

F

Ϫ J

pp

#˙

b˙ ™

G

p

p

H

#œ ™ J

mf

Ϫ

I

˙

p

bœ ™

H

n˙

mp

˙™ ppp

H

mp

œ

I

pp

Copyright © 2018, Demodocus Music Publishing / www.jonsthanposthuma.com

J

mp

b˙ ™ p

J

ppp

j Ϫ

˙™

K

p

L

bœ

mp

b˙ p

L

M

p

w

M

ppp

L

bœ

pp

bœ J

L

ppp

K

N

p

K

#œ J

O

˙

Ϫ J

pp

b˙ ™

N

K

Ϫ

N

ppp

p

p

I

Ϫ

œ

N

p

M

J

J

bœ ™

M

pp

mf

w

ppp

mp

œ J

p

Ϫ

w

H

G

mp

I

ff

mf

bw

mf

j Ϫ

p

L

M

ppp

L

N

p

˙™

L

bœ ™ J

K

bw

p

M

p

J

˙

p

n˙

p

L

w

N

M

p

bw

N

pp

p

bœ ™

K

M

M

L

bœ bw b˙ ™ J

I

pp

b˙ ™

ff

N

˙™

pp

bw

K

Ϫ

pp

j bœ ™

H

pp

j bœ ™

E

ppp

mf

F

#œ ™ J K

M

˙™

L

œ

p

˙™

L

p

ppp

J

œ J

pp

bœ ™

mf

p

#œ ™ J

G

œ

b˙

˙™

I

mf

F

pp

j bœ

H

pp

p

˙

pp

ppp

E

E

#œ

F

mf

ff

p

p

Ϫ

E

f

b˙ ™

˙™

G

˙

ff

mf

J

J

#œ J

mp

p

ff

I

œ

j Ϫ

K

J

b˙

f

Ϫ

K

w

b˙

p

p

œ

w

J

œ

I

H

˙

I

K

ppp

#œ J

mf

f

Ϫ

J

L

bw

mp

p

H

j Ϫ

G

w

pp

C

F

F

D

˙

ff

G

I

j œ

H

K

pp

p

b˙ ™

mf

p

p

pp

ppp

B

f

ff

p

B

Ϫ

p

B

B

ff

˙™

D

j œ

F

Ϫ J

f

G

#œ ™ J

I

pp

Ϫ

j bœ ™

J

p

œ

H

ff

bœ ™

E

mp

B

j Ϫ

#œ J

j œ

C

mf

p

D

b˙

F

E

w

p

mf

pp

12

C

p

#œ

A

ppp

11

Ϫ J

B

D

G

p

bœ ™

E

H

mf

œ

p

mf

mf

pp

mp

10

˙

mf

A

b˙ ™

C

f

B

j œ

D

mf

j œ

bœ

ppp

j & bœ

B

ppp

pp

™ & œ

mf

mf

pp

7

œ

j Ϫ

mp

j Ϫ

C

Ϫ J

F

˙™

I

p

bœ ™

G

pp

E

j Ϫ

H

pp

#œ J

pp

˙

p

B

mp

D

œ J

mp

Ϫ

pp

p

F

#œ

#œ ™

G

b˙

p

E

#˙

p

C

w

mp

pp

5

pp

F

mp

D

bœ J

Ϫ

E

œ

mp

C

B

D

bœ

#œ ™ J

B

p

A

C

mp

b˙ ™

A

mp

4

j bœ

B

mp

mp

3

j bœ

w

M

ppp

M

w

pp

4

General Rules for Playing Cells and Making Patterns or Melodic Shapes Any pitched instrument may be used, preferably those which can sustain notes and change dynamics. Non-pitched instruments, or those that do not sustain or change dynamics can be used, but only if there are enough other instruments to sustain the overall texture and character of the piece.

Any number or combination of instruments can be used, but preferably between 4 and 30. It is not necessary for all instruments to play at once, and players may come and go or change instruments freely.

Pitches should be followed closely, but may be transposed by octaves to any playable note within range (as long as tuning and dynamic control are within the given parameters). Transposition of the Full Score for various instruments is available by request.

Duration and rhythm should be considered carefully, with e = ca. 60, but flexibility is encouraged, especially if it aides in the expression of the phrase or the creation of a texture. If a section grows in intensity, the patterns may feel more natural if played faster. If it grows more sparse, the shorter durations can be slowed down.

Dynamics should be followed closely, but cresc. and dim. is highly encouraged (and often very effective).

Small cresc. and dim. can be made on individual notes for expression, but at no point should these hairpins greatly exceed the printed dynamic. But, if the next cell in the phrase is more intense, the player can cresc. into that dynamic.

For example, cell 3G has the dynamic p and should never be played mf or f unless it connected to 3H, and then it can cresc. to f In general, all cells can dim. to niente. Put another way, loud cells can fade away but quiet cells cannot grow on their own.

Articulation can be used, but should not greatly alter the dynamic or duration of the cell. For example, an e could be staccato, but a w should not, or a f could be paired with an accent, but a pp should not.

Extended techniques and coloristic qualities such sul ponticello, sul tasto, pizzicato, flautando, vibrato, tremolo, flutter tongue, overpressure, straight tone, brassy tone, airy tone, etc. can all be used at the performer's discretion. The pitch, rhythmic, and dynamic material takes precedence, but the color and mood of the cell may offer ideas for altering the material further.

Each cell can be played in isolation (with unpredictable long rests between), repeated (with small or regular rests in between) or connected with an adjacent to create a texture, or played with adjacent cells to form phrases (no rests between). Moving between cells should be guided by an overall direction or purpose and players should not "jump" randomly to another section of the painting but "journey" there.

Note that adjacent cells can be in another row or diagonal, (e.g. cell 6E can travel to 5D, 5E, 5F, 6F, 7F, 7E, 7D or 6D).

Example 1 (Cells in Isolation)

U ∑

1L espr.

& bw

mp

U Ó

2L

b˙

5 sec. n

7 sec.

p non dim.

Example 2 (Cells Repeated as Regular Texture)

j & bœ ™ 8I

j bœ ™ 8I

Œ

mf

j bœ ™ 8I

Œ

8J bœ.

J

Œ

8J bœ.

J

‰

p

8J bœ.

J

‰

j bœ ™ 8I

‰

j bœ ™ 8I

Œ

mf

Example 3 (Cells Connected as Regular Texture) 12E

12F

& œ

ppp - pp

12E

12F

œ

Ϫ J

12E

12F

œ

Ϫ J

j Ϫ

5B

& bœ

mp

j Ϫ

5C

5B

j œ

mf

f

&

3H

>Ϫ

f

Ϫ J

3I

3H

p

>Ϫ

˙

mf

Example 5 (Phrase)

ppp

U,

b˙ ™

4H

f

U ,

6B

ff

&

1N

˙™

2N

3N

w

n˙

pp

pp

11I

26 & 4 n˙

mp

10I

˙

p

#œ ™ J

10H

pp

7C

œ

Ϫ

n

pp

n

pp

8H

4G b>˙

ppp

6A

p

pp

p

7F

bw ff

n

5E

w

ff

U,

b˙

n p

5F b>œ ™

mf

˙™

7G

pp

j nœ

2L

n

œ

5G

2M

U œ , n˙ 8G

7A

bw

pp

ff

p

#˙

ff sub.

mf

U,

Ϫ J

12G

œ

bœ

p

U , b˙ ™

9H

7B

Ϫ R

U, 3M b˙ ™

p

Example 7 (Phrase)

3G

f

Example 6 (Phrase)

nœ ™ J

6C

p

3H

12F

œ

Ϫ J

Example 4 (Phrase) 5A

12E

pp

1L

bw mp

U , n˙

7G

p sub.

Copyright © 2018, Demodocus Music Publishing / www.jonsthanposthuma.com

j bœ ™

1J

mp

p

1K

Ϫ

6F

˙™

6E

f

˙™

5

General Rules for Traveling and Arriving Together The duration of the performance is not specified, but should be at least 10 minutes. A performance may be broken into movements, or interspersed between other music.

Performers are encouraged to plan their performance in some way, perhaps by writing out a few textures or melodies, like those on the previous page, but this is not a requirement. More important to decide is how the ensemble "journeys" through the piece. Not all cells need to be played, and a satisfying performance may only explore a limited section of material. Below are a few guidelines or strategies that can be used to create an effective performance.

Choose a starting point, pan out slowly by widening the available cells.

Choose an ending point, start widely and then narrow the focus to a single cell.

Choose a direction, start in one corner and travel across or diagonally to another corner.

Meet in the middle, choose a destination and work towards it from two points.

Choose a start and finish, then find a path between those points.

Trace a path that feels natural, then interpret it muscially.

Concentrate on color, choose a series of colors to highlight over the course of the performance.

Concentrate on pitch, choose a pitch or pitch relationship to highlight.

Concentrate on dynamic, choose a path that avoids or emphasizes a dynamic level.

Concentrate on contrast, alternate rapidly between two different patterns or ideas.

Divide and conquer, choose zones for each player, or divide the cells randomly between players.

Spatialize, use the stage to physically represent different components or zones of the painting.

Randomly choose a cell, then journey towards it, randomly choose another cell.

Projecting the painting can also be a way of interpreting the score. By creating a video that controls what sections of the painting are being used, both performers and audience can be engaged. A conductor could manipulate the image to produce different 10 11 12 13 14 15 sonic results.

∑

&

∑

∑

∑

∑

∑

∑

∑

The Method The pitches, dynamics, and rhythms are not randomly assigned, but adhere to a method based on the intensity within each row, and colors spanning the entire painting. The process was not based on a scientific evaluation of each color, but rather a personal perception. Each color or intensity could be arbitrarily defined differently by different viewers, and if an ensemble wants to create their own version of this method according to their tastes, it will yield different results.

After each cell received a label, the painting was cut into pieces and sorted into 12 color categories, 1 for each chromatic pitch.

Each color was also assigned a dynamic level, with warm colors being loudest, cool colors medium, dull or greyish colors quiet, and black quietest. The categories were adjusted to be fairly even, though there are more quiet dynamics than loud.

These pitches have a downward shape, starting on D they grow in intesity from ppp to f (D, C#, B, A, G, F or D, C, Bb, Ab, Gb, F) The low E is placed below, a quiet dynamic p, and the high Eb is placed above, a very loud dynamic ff.

Key: Pitch [# of cells] dynamic B [16] p C#[19] pp D[21] ppp

A[8] mp

G[11] mf

E [15] p

C[18] pp

F[9] f Ab[15] mp

Eb[9] ff

Gb[9] mf

Bb[17] p The rhythms are arranged by intensity within each row, so that the brightest and the darkest have the longest durations.

There is an intensity to both bright and dark colors, which is why they have durational prominence. A quiet ppp w can be as striking as a loud ff w in the right context.

One row has 15 durations, 4 have 13, and 6 rows have 14, but most follow a pattern like the one below.

Intensely Bright w

h.

h

Dull q.

q

e.

e

Intensely Dark e

e.

q

q.

h

h.

w

Because the pitches and dynamics are not tied to each row, there are zones where certain pitches and dynamics are more common. The rhythmic energy is spread evenly through each row (fitting for a grid-based painting), but the overall distribution is fluid and provides a somewhat innate hierarchy for each cell.

By understanding and internalizing this method, along with the rules and guidelines, the shape of each performance will have some consistency. But ultimately, it is the performer that determines how to interpret these instructions, just as I interpreted Paul Klee's image.

December 6, 2018 Newport, MN

Copyright © 2018, Demodocus Music Publishing / www.jonsthanposthuma.com