Michael Alexander

Analytical Studies
Final Paper Draft:
Matthias Pintscher,
A Twilight's Song

Matthais Pintscher is a German conductor and spectral composer; he is perhaps the most

important living German composer. He is known as a spectral master for his extremely intricate, and

delicate sound atmospheres that demand high rhythmic and dynamic precision. He has written

numerous chamber works, works for voice, operas, concertos, and other orchestral scores. He has had

the honor of leading top ensembles like the BBC Scottish Symphony Orchestra, Colorado, London,

Berlin Philharmonic Chicago, St. Paul, New York, and Atlanta Symphony Orchestras. His music is

also performed by these ensembles, along with big name conductors like and Esa-Pekka Salonen and

Pierre Boulez. He regularly conducts throughout Europe, Australia, and the U.S.; he also often

conducts an all-Beethoven concert in Chicago, and recently has been named the new music director for

the Ensemble Intercontemporain's 2013-2014 season. He has a fairly strong following of spectral fans

from all over the world – especially in Germany and Slovakia. [

Spectral music, a sphere and compositional medium that originated and was developed in

France in the 1970s, has served as academic and explorative idiom for well known composers like

Gerardo Grisey, Sophia Gubaidulina and Matthais Pintcher. This style of music focuses on different

aspects of music than that of most other genre's or compositional idioms. Unlike serial, or tonal music,

the main objective or goal of this type of music is the successful creation of sonic identities that

develop and create interest through their transformations and connections with other like ideas.

Harmonious or not, this music strives to achieve progression through combinations of

sounds/instruments and their entity as a whole or atmosphere that is void of conventional progression,

rhythm, or cadence. The sound spectrum along with harmonic characteristics of any given sound are
taken into heavy considerations in constructing sounds. Twilight's Song, written in 1997, is one of

Pintcher's most well known works; it is an operatic work that effectively narrates a story with a mixture

of atmospheric texturing and text-painting, enhancing the imagery, descriptions, and emotional effect of

Cummings' poem. [Arrell]

Twilight’s Song is a work set to the poem, The Hours Rise Up Putting Off Stars And It Is by

E.E. Cummings. Pintcher utilizes a rather unorthodox ensemble being: soprano voice, harp, piano-

forte, axillary percussion, bass flute, bass clarinet, viola, and cello. In the performance notes, Pintcher

gives specific directions for other effects like bartok pizz, sul tasto, improvisational techniques, “slap,”

and sul ponticello that give it a uniquely configured sound that disguises the actual instrumentation.

Throughout the work, the ensemble creates an audio universe to which the soprano narrates

poetry. We eventually recognize a few ideas that return and transform both musically and lyrically. We

consider it a spectral work, as the focus is placed more on the interactions of the different sounds

versus, their pitch material, harmony, or function. Since it is not based on these things, Pintcher uses

other ideas and techniques to achieve certain aural expectations, or recollections. [Cornicello]

At any given time, Pintcher's harmonic combinations contain intervals from the 1 st, and 6th

interval classes. Seconds, Sevenths and tri-tones are found in all note, or timbral configurations.

Horizontally, the works melodic ideas use all twelve pitches and do not reference any tonal areas. On a

local level, some of the phrases in the soprano line stay within a diatonic, or known collection. In

context, we do not recognize key or tonal center. In doing this, Pintcher redefines our exception and

idea of consonance. The lack of consonance or resonance as a result of these dissonant intervals

instantly cause us to pay attention to other characteristics of the sound, it's dissonance, and level of

relative dissonance. We attend to the dynamic, or unified color of the instruments and the combination

of their timbres; and even the register and how it fits within the overall sound. Other than the

interactions, we could still consider his harmonic impetus to be clusters. From measures 22-27 we

could understand the pitch collection [soprano voice] as being one that is referential to D phyrigian
however, no neopolitan/bII chord or V motion places us in the minor phyrgian mode. Throughout the

work, Pintcher works with collections that have tonal history, but don't necessarily achieve their tonal

purpose in Pintcher's atmosphere.

We should recognize that the work's organization is not based on the music's motivic ideas or an

organic musical idea, but it is organized according to the poem. The most important or notable sonic

ideas occur at key moments/words in the lyric, typically highlighting whatever word is being said. We

are by default tuned into the singer, most of the time – but when an important [or noticeable] musical

idea occurs both with the voice in junction with the ensemble, we see a text-to-audio intensification,

often refered to as text painting. [Arrell]

When narration occurs, it adds more layers of depth and considerations for the listener. The

poem that the work is based on is written in prose with strong imagery, and a rather simple but complex

story about the every day lives of people: as it's own story, or as relatable to whomever. We know that

poetry can or doesn't have to be organized, in similar fashions as music is organized. Since this work is

not focused on harmony, or melody, but narration and the interaction of the timbres that surround the

narration – we listen and attribute other things that dictate the works formal structure. The poem itself,

does not have a blatant form, besides the fact that it starts and finishes with a similar lyric, and the

middle includes a bit of repetition. Considering the considerably comparable sound-worlds and their

transformations, I assert that the form is as followed:

A – 1-65

B – 65 – 95

A – 95 – end

We could even consider it an arc form and disregard the measure numbers, as the form of the poem is

often more readily recognized by the listener. The middle section's music is drastically different in both

texture and dynamic; the sections surrounding it are very similar to each other. The A section creates a
more atmospheric sound-world in which there are small sonic ideas that appear and transform. The B

section includes a very striking, continuous, and low-voiced contour focused ideas. We hear swells that

become the most drastic besides those drastic tutti measures. Since this is so consistent and contrasts

with the beginning section [because of it's continuity] – this section seems to be different, and to

achieve a different interaction with the singer. The structure is a little disproportionate, but if we

observe the poem – we can see the same unequal lengths amongst lines, stanzas, and phrases. There is

not much direct repetition but we are able to recognize both musical motifs assigned to the poetic

motifs Cummings wrote.

Since pitch is constantly configured with dissonant intervals, we have no harmonic trajectory.

The listener is left to take in the dissonances and textures that come from them. At other moments, we

see single pitches become the focus, as they contain certain dynamic, timbral, and characteristic shifts

that serve to move us forward.

If we look at one of the climaxes of the piece, we

see one of the loudest and most blatant transferring

of textures in the entire piece. In measures 59-61,

the ensemble creates a more aggressive sound with

multiple fortissimo markings and extended, loud, and

aggressive techniques in the lower strings and bass

clarinet. At that moment, the voice also has a

dynamic that is just as loud, and battles with the

ensemble for textural dominance for a few moments.

The same pitch [B natural] occurs shortly after the

voice on the crotales [axillary percussion]. The

timbre of the crotales and the soprano are both as

equally clear and penetrating, but the crotales have a

different attack, and natural sustain/decay that the voice does not replicate. At this moment, [60] we

hear a ringing sound that references the timbre of the voice, but is completely different and progresses

the work as one of the important transformations that Pintcher relies on to move forward.

Other techniques Pintcher uses to hold this work together is his use of consistent ideas that

change just as they would in a more tonal setting. He transposes some ideas, keeping their rhythm

more or less identical – and even has a few ideas that stay the same in pitch and rhythm, but text-paint

different text. If we look at the statements of the word “poems,” in the beginning of the work [m. 27]

and at the end [m. 126] we would notice the same small musical idea attached to the word. Here, the

same words and the rhythm are transposed down a sixth in comparison. Oppositely, if we look at

measure 37 and 103 we see the same rhythm and pitch collection, with different words. As the narrator

reads these different words, we see the tutti attack each time signifying something different in relation

to the meaning of the word. When she says 'extinguished' we focus on the silence; when she sings

'lighted', we focus on the entrance of the ensemble. This conceptual effect is a result of the context,

lack of harmonic or melodic trajectory, in combination with the meanings of the poetry.

Another example of structural ideas Pintcher utilizes would be, “........sky light walks scattering

poems.....Scattering,...” The last statement of the word, 'scattering,' is whispered; and it's notated with

an 'X” note-head. Since it only occurs two times, in the same exact [poetic] context it codifies its role

as the emphasized verb of the line. It is recognized as a significant and unique idea. The drastic

change in vocal timbre is extremely noticeable and is not forgotten. It is a word that comes from the

only single line that is repeated verbatim in the poem. The word gains a musical importance and

identity in the work since it's so unique but occurs two separate times.

Most of the rhythms throughout the work are pretty subjective, and are mostly focused on a

more textural or effectual idea. There are a few rhythmic ideas in the voice, that we can consider

motives, as they return and maintain consistency. If we give our attention again to “...Scattering...” we
will notice the triplet executed both times it is whispered. In the grand scheme, this rhythm is slightly

more tangible than the majority of the work's rhythmic profile because it is consistent with a word,

pronunciation, and timbre. Rhythm is consistent, containing mostly uneven groupings of 16 th or 32nd

notes that disguise any type of regular pulse or beat. Look at measure 108 for a good example of the

lack of pulse – especially in the percussion's double brackets. These polyrhythms disguise any regular

groupings of beats or pulse. It creates freeflow sound that is moderated by the composers own pacing,

instead of time or even bar phrases.

The sounds used are appropriate and necessary on a more psychological and poetic level to

describe the imagery, or words used in the text. Pintcher, utilizes pitch both as axillary and layering

tools as the one of the striking differences between the sections. The dense textures are distributed

with pitches that are adjacent {clusters} and in dissonant intervals. The instruments are often

disguised with an extended feature of any given, in order to maintain a certain character and

uniqueness. The context in which musical events happen change the character and connotation of the

text from the soprano. We should notice that before each major section, there is a setting of an

atmosphere – a mostly silent but an appropriately and characteristic sounding atmosphere. The

consistent use of the extended timbres and registers of the ensemble enable Pintcher to establish a sonic

universe that has it is own character and timbral associations.

Even at the introduction, we are confronted with a monophonic texture in the lower viols that is

barely audible, and tone-less. The sound is a scratchy, whispered tone that is notated by a series of

temelo 32-nd notes grouped in nine. The number of pitches varies between statements of the gestures,
and they are noted in a semi-cascading manner – once the viola finishes, the cello starts shortly after.

[above]. Along with these gestures in the strings, we see the bass flute execute bends [like measure 5],

and breathy sustained long low-notes that seem appropriately associated when compared with the

amorphous scratches produced in the strings, or the bends and similar textures created throughout the

work in the viols.

The rhythmic profile is not very strong or beat oriented. It's more of an amorphous soundmass

that contain like elements that reoccur in different combinations. At measure 42, we can observe the

cluster and how it creates a soundmass more-so than we could consider it a chord or sonority. The

chordal intervals of the work typically stay within the first class [m2, M7] and the conventional

harmonic series is not observed. The extended techniques contained within the work tend to be based

off of ideas more concerned with the sound itself, instead of rhythm or pitch. There are no cadences, or

moments of harmonic rest; here the most concrete cadential characteristics of the work tends to be it is

lack of activity. Pintcher has a few very long pauses, along with static motions within the work.

Almost static, dynamics, timbral transformation and narration move this work forward. Mostly, rhythm

is used to expand different ideas or pitch areas. If we look at measure 98 in the viola/cello, we see 2

figures, that are related in pitch range and area. The dynamics change drastically, but the swell and

pitches are still there, along with two textural variations of the same sound, or implication. [Fineberg]

We have no chord progressions, balanced melodic/harmonic profile, or preconceived

expectation of the work; perhaps besides the poetry. Even though there are no transpositional chords,

there are intervallic structures that become important and consistent, but occur in different times and

combinations of instruments. For the entirety of the work, the cello plays [both vertically and/or

horizontally] intervals within the first class; always ½ steps, or 7ths. Occasionally there are touch

fours, but they often are written in conflict with the viola [being one half/whole/seventh step away].

Any other collection of pitch contained anywhere in the piece often has some type of conflict, or level

of dissonance; after we hear this level of dissonance for so long, it's no longer “dissonant,” in terms of
what we typically expect to be consonant. It becomes it's own idea, world, sound, idea, and unique

self-gauging world that is judge relatively by moments or ideas preceding it. Those ideas focus on

sound, character, and environmental interaction instead of the harmonic series, intonation, or rhythm as

we might would in other musics . Dynamic shape, contour, and attack all seem to be more important

than the notes contained within any of the gestures from the introduction and the rest of the work. If

we observe section B, notice that the difference is in it is texture. The general impetus went from being

based on hyper-instrumental ideas, to those that are concerned with contour, individual timbres and

sound-shape.

Pintcher adds a bit of paradoxical depth to the work. If we look at measure 58-59, we

experience a climax that is created by the words, dynamic shift, and the connection between the the

physical elements: voice and text. In the lyric, the last word is “happy,” however, it is the highest point

of the measure, as it is the loudest, and longest note held by the voice. The paradox is further

influenced by the previous line, “I see the brutal faces...,” in which doesn't imply anything happy – but

it does add depth and perhaps more meaning to the words versus Cumming's intent. The ensemble

executes a series of percussive techniques at the attack of each word, line 15. At these moments,

pitches are indicated but they are not all necessarily perceived. This unique and unorthodox

orchestration enhances the emotional intent of the author. Being the loudest section of the work, it

leaves a rather important impression on the listener in relation to the other things that go on before and

after those measures.

After this climactic moment, we are presented with a long period of almost complete silence.

Not only does this draw our attention, concludes the ideas before it - it blatantly eaves room for

another idea, or section to start. The long pauses contained in the work make the silence itself a

conceptual idea. Since we talk about dawn, day, and night – we are referring to the significance of light

and it is effect on the people. The sonic choices Pintcher choose to make mostly build an idea about

the time of day. [Arrell]

 Pintcher adds a bit of character and contrast to the latter end of the work including some spoken

words. At those moments, measures 107 – 108, we are immediately drawn to the clarity of the soprano.

Pitch is indicated in the score, as the lines are spoken static. Here, Pintcher reminds the audience that it

is a poem, and that there is a story going on. The length and context of the words may be a bit harder

to follower than this section, but a clear verbal idea is stated and the atmosphere is given a certain

significance. The obscure atmosphere isn't exactly harmonious, but it is less dense, and harsh than

some other voicing in the work. In observing this, we can see the contrast between the types of

climactic or dramatic ideas, versus, the shear dynamic energy generated at, say, measure 42 or 58. In

contrast,

Dynamic control is very important to this work, as well. A lot of the textural and atmospheric

ideas have a dynamic level no louder than mezzo-forte. At certain moments, a drastic change is made

in reaction to the text. This text-painting idea sheds light on a compositional decision that Pintcher

chose to abide by. The background textures seem to be constructed to mesh together, and be

indistinguishable as the instruments they actually are. The dynamic level and blending, in junction

with the class intervals used masks the timbre of each individual instrument. We recognize intervals

contained within the textures as well as in the soprano, which is more prevalent in some areas than

others. The contrast between when we can recognize intervals, versus noise is one of the ways Pintcher

adds character and more meaning to the words being spoken. The difference in these two types of

textures cite different emotions or characters.

When there is dynamic shift in the voice, it primarily is towards a climactic moment, or a swell.

Whereas in the ensemble, dynamic shift tends to be textural – the texture of the sound acts as a whole,

not as, for example, the end of the crescendo at a target note. The ensemble typically has the same

dynamic ideas at any given moment – though they are never really verbatim or placed together. This

indicates the perception and goal of the general scape of ideas. If we look at The voice is consistently

louder than the ensemble, and is never considered apart of the background or ensemble. The voice is it
is own entity and foundational facet to this work. We could consider that the voice is written with

melody and accompaniment, or more appropriately – narration and accompaniment. Interestingly

enough, the voice contains most intervals except for types of 6ths in it is linear profile.

Lastly, if we observe the physical layout that Pintcher provides the ensemble, we'd see the

attention to spacial detail that Pintcher applies. Of the 8 parts, we see the two least acoustically

aggressive instruments in the front; oppositely, the percussionist is in the back as they have the most

sharp and clear attack. This physical configuration effects the overall sound and blending on the

ensemble. The flute can be loud, but probably would have issues being heard as a bass flute in the

mass of the different instruments. Generally, the pitches played in these instruments are hidden and

masked by the clusters and other instruments. Bringing our attention back to the climax at measure 58,

we can hear the striking timbre of the bass clarinet, but at FFF. That dynamic idea is shifted all around,

including in the low strings, but never actually sounds the same. it is all appropriately associated, but

at moments like these, we pay attention to the whole sound with characteristics of those individual

instruments. If we were to look at older scores, like Debussy, Wagner, or Mozart, we'd see attention to

the families of instruments treated a different way. Here, each instrument is treated as it is own thing,

more-or-less equal to the instruments around it. The musical idea remains the same in each instrument,

and the timbral transformation typically are results of the kind of instrument it is given to.

Occasionally, there are moments of clear timbral identity, but mostly we are confronted with the sound

of the ensemble as a whole, along with the soprano. [Fineberg]

We could compare measures 59 [voice versus percussion] with measures 87-91 [low winds

versus low strings]. Here, the woodwinds are completely capable of doing glissandos, as the strings do.

But the idiomatic characteristics of the instrument probably influenced his decision to make two

similar gestures.

Bass Clarinets can bend, and gliss – however, the bend would not be as smooth as that of a

string. Pintcher chose to notate the pitches instead of giving the clarinetist a similar gesture. If we
think about improvisation and the physical configuration of the instrument, we could argue that it

would not have been the best idea to give that type of notation to the bass clarinet. It is a pitched

instrument with a certain configuration of keys and accidentals; the natural inclination for a unspecified

contour is to freely play the easiest notes contained within the gesture. We could probably guess that

the result would either reference [concert] Bb, Eb, or a key that is naturally contained on the length of

the bass clarinet. For a string, since it is a string, this happens naturally. The result is probably more

accurate to being unbound by diatonicism than it may appear be in the b.clarinet. And there is textural

and timbral transformation/comparison.

In conclusion, Pintchers organization of textural and sound-mass ideas along with the narration

of the text clearly enhanced the poem and added an extra layer of depth and meaning to it is actual

words. Aside from setting the atmosphere, Pintcher even clarified the authors real intent and sarcasm

with his use of spectral music. Written in an era where practically anything goes, it can be difficult to

find new ways to articulate a poetic, philosophical, or artistic vision in junction with work that is not

directly geared towards that setting. Twilight's Song is a tasteful setting and example of how spectral

music can be used to evoke emotion, and artistic depth.

1.Arrell, Christopher Andrew. Pushing the Envelope: Art and Science in the Music of Gerard Grisey

(New York: Cornell University, 2002).

2.

3.Cornicello, Anthony. “Spectral Music: Chapter 1” Dissertation.

4.

5. Fineberg, Joshua. Spectral Music: History and Techniques (Switzerland: Harwood Academic

Publishers, 2000).

6.
7.“Matthais Pintscher” last modified Feb 2013,

8.http://www.matthiaspintscher.com/

9.

10.“Matthais Pintscher” last modified Aug 2012, http://www.opus3artists.com/artists/matthias-

pintscher.

11.

12.Pintscher. Matthais. A Twilight's Song. Germany: Barenreiter-Verlag Karl Votterle GmbH & Co.

KG, Kassel, 1998.