37c.

STELLAR QUINTET: A SUITE FOR TWO VIOLINS,

VIOLA, VIOLONCELLO, AND

HARPSICHORD

THESIS

Presented to the Graduate Council of the

University of North Texas in Partial

Fulfillment of the Requirements

For the Degree of

MASTER OF MUSIC

By

Robert J. Frank, B.A., B.M.

Denton, Texas

August, 1988

@1989

ROBERT- J. FRANK

All Rights Reserved

Frank, Robert J., Stellar Ouintet: A Suite for Two Violins, Viola,

Violoncello, and Harpsichord. Master of Music (Composition),

August, 1988, 118 pp., 4 illustrations, 8 musical examples.

Stellar Ouintet is a composition in five movements (Prologue,

Allegro, "...Of Stars", Rondo, Epilogue) for two violins, viola, violon-

cello, and harpsichord. It makes extensive use of constellations , a

term used in this work to denote arrangements of pitches in spatial

notation. This method of notation is derived from actual astro-

nomical constellations. The score makes use of both real and freely

constructed constellations which are rotated around their own

central axis. The score is 90 pages long with a 28 page analysis

preceding the score. The work has a performance time of approxi-

mately 18-20 minutes.

TABLE OF CONTENTS

LIST OF ILLU STRA TIO N S................................................................................iv

LIST OF M U SICAL Exam ples...................................................................... v

OVERVIEW OF THE W ORK ............................................................................... v i

MOVEMENT IPrologue.............................................................................................. IX.....-ix

MOVEMENT IIAllegro.................................................................................................. . X

MOVEMENT III"...Of Stars"......................... ......... .......... ..................................... xix

MOVEMENT IVR ondo.......................................................................................................... xxI

MOVEMENT VEpilogue ................................................................................................. .xxv

COPYRIGHT NOTICE............................................................................................xxix

STELLAR QUINTET(SCORE)Prologue......................................................................................................1

Allegro......................................................................................................6

"...Of Stars"...........................................................................................3 7

Rondo.................................................. . 56

Epilogue...................................................................................................8 7

iii

LIST OF ILLUSTRATIONS

Figure 1: Chart of form...................................................................... v i

Figure 2: Rotation of constellations.............................xv

Figure 3: Star map with circular overlay...................xvi

Figure 4: Chart of constellations............................ xv iii

iv

'LIST OF MUSICAL EXAMPLES

Example 1: Leitmotif in constellation notation....................................0viii

Example 2: Accompanimental figure...................................... xi

Example 3: Main theme................................................................xi

Example 4: Secondary motive..............................xii

Example 5: Accompanimental chords inviolin II, viola, and cello................................................ xix

Example 6: A theme.....................................................................xxii

Example 7: B theme........................................................... xxiii

Example 8: Final collage of themes andconstellations.......................................................................... xxvii -

xxviii

v

OVERVIEW OF THE WORK

stellar: adj. 1. of, relating to, or consisting of stars.2. a. of, or relating to, a star performer.b. outstanding; principal; leading.

The above definition from the American Heritage Dictionary of

the English Language was used as the basis for this work. Stellar

Quintet, for harpsichord, two violins, viola, and violoncello, is a suite

in five movements. Definition 1 was used in the writing of

movements I, III, and V. Definition 2b was used for movement II,

and definition 2a was used for movement IV.

The large-scale form of the work may best be represented by

figure 1.

8800"1 - -.M.8M- thin texture

M -more dense,contrapuntaltexture

4# 1 Ole -use of4'10" .~355's "'*constellations

16 0"."1 S ....34"

Mvt I. Mvt. II. Mvt. III. Mvt. IV. Mvt. V.Prologue Allegro ... of Stars Rondo Epilogue

Figure 1. Chart of form.

vi

Stellar Quintet opens and closes with slow, introspective

movements which are connected without break to their adjacent

movements. They are, as their subtitles indicate, short statements

made directly to the audience, foreshadowing and summarizing the

ideas and themes. These movements, along with movement III

make use of constellations, a term used in this work to describe both

the horizontal and vertical relationships of certain sets of pitches in

spatially notated sections. Discussion of constellation notation will

be reserved until the analysis of the third movement, which most

fully explores its use.

Movements II and IV use only standard notation and explore

the technical aspects of the instruments. Movement II concentrates

on the vertical sonorities while movement IV centers around the

linear aspects of the themes. Each movement showcases both in-

dividual performers and small ensembles of players. These two

movements are also about the same length, giving the work as a

whole a symmetrical form.

Movement III ( .... of Stars) is the only movement that is com-

*pletely separate from the other movements. It is the longest, and

most cerebral of all the movements. It is for that reason that the

form shown in figure 1 was used. Movements I, III, and V serve as

an exposition, development, and recapitulation, respectively.

Movements II and IV function as contrasting sections, not only in

tempo, but in texture and metric stability as well. All five

movements are linked by use of a leitmotif , which is shown in

example 1. This motif is used as a musical "punctuation mark"

vii

throughout the work, serving as a cadential figure at climactic

points. It is also used as the harmonic basis for various sections in

some of the movements.

Example 1. Robert J. Frank, Stellar Quintet, Leitmotif inconstellation notation.

p

viii

MOVEMENT I: PROLOGUE

The Prologue is in a three-part AB-AB-AB form. Each section

consists of statements of constellations by the harpsichord followed

by metered replies in the strings. The leitmotif introduces the first

of these statements in the harpsichord, with constellations con-

structed primarily of perfect fifths and minor seconds. These state-

ments are unaccompanied at first, followed by the entrance of a

sustained A in the cello. This is answered by a two-voice reply in

the strings, which uses the same pitches that were stated by the

harpsichord.

In the second statement, the constellations are inverted and

freely developed. This time the statement is accompanied by the

opening two pitches (D-A) in the violins, which then introduce a

slow half-step glissando. Following this, the first reply is transposed

up a step and inverted, with the addition of a third voice.

The third section is the most active, with free development of

the constellations over a three-voice, more dissonant (C-Gb) accom-

paniment. The third reply is less rigidly based on previous

material. The glissando is now used in the reply as the strings

approach the final D-A cadence, which the harpsichord echoes.

ix

MOVEMENT II: ALLEGRO

The Allegro is in a modified sonata form, beginning attacca'

subito from the first movement. The exposition presents the

themes until letter C, where there is a short bridge section. The

development section, from letters D to J, is in free form, constituting

a transition from isolated themes against accompaniment to

interdependence of lines. The recapitulation consists of a short re-

statement of main themes at letter J followed by a coda, which

diminishes to a quiet cadence.

The accompanimental figure (example 2) opens the exposition

and establishes a pitch environment from which the main theme

(example 3) is derived. The second chord is an inversion of the first,

which is then transposed down a half-step. Also, if the upper note

of the second chord is displaced down an octave, one sees that the

second chord is a tritone transposition of the first. This gives each

chord a major second surrounding the single note of the other chord,

which causes a shift in tonal color rather than a change of harmony.

x

Example 2. Robert J. Frank, Stellar Quintet, Mvt. II,Accompanimental figure.

After the introduction of the accompanimental figure, the

main theme answers it in the strings.

Example 3. Robert J. Frank, Stellar Quintet, Mvt. II, Main theme.

CbMwdI ICb.d2

i i ir i

At letter A, the strings briefly develop the main theme while

the harpsichord introduces the secondary motive (example 4). This

new motive is of tertian construction as opposed to the quartal

structure of the accompanimental figure, and serves as a catalyst

throughout the movement to help agitate the pitch environment.

xi

Example 4. Robert J. Frank, Stellar Quintet, Mvt. II, Secondarymotive.

When the themes return at letter B, the chords of the accom-

panimental theme are inverted, as is the second half (chord 2) of the

main theme. This builds into letter C, ending the exposition.

The development section begins with thematic fragments

building up to the entrance of the leitmotif in the strings at letter D,

over which the harpsichord has the second half of the main theme

in diminution. The accompanimental figure is represented by a

single chord transposed at the octave, and finally only a single line

in the violoncello. These ideas are freely developed, with the

addition of ascending sixteenth-note passages derived from the

second half of the main theme. This section remains centered

around the alternation between strings and harpsichord.

At letter F, the 1st violin and harpsichord freely exchange

soloistic fragments over a slower, choral-like accompaniment

derived from the main theme. At letter G the violoncello replaces

the violin, with the accompaniment now using an expanded version

of the secondary motive in the upper register. This builds into

letter H, with the entire ensemble together in strict rhythm.

Pyramid-like entrances build up to a climax at letter I.

xii

At this point, the strings enter with the second half of the

main theme in stretto over final developmental figures in the

harpsichord. The strings respond to these figures with accented

eighth-notes, which occur with greater frequency as the music

builds to letter J.

In the recapitulation, the main theme and the accom-

panimental figure return transposed up a tritone, paralleling the

intervallic relationship between the two chords on which they are

based. In these statements, however, the violins continue the

accompanimental figure as the lower strings present the main

theme. After two of these alternating statements, the harpsichord

extends the accompanimental figure over canonic entrances in the

strings. This canon builds to letter K where the secondary motive

returns in its- expanded form. In the brief coda section which

follows, the themes grow softer and fragment until cadencing

quietly on the first chord of the accompanimental figure.

xiii

MOVEMENT III: "...OF STARS"

The third movement, "...of Stars", serves as the focal point of

the work. The harpsichord makes substantial use of constellation

notation . This is a new method of notation derived from diagrams

of astronomical constellations on star maps. It was inspired by the

observation that some constellations were easily recognizable at any

degree of rotation. This work explores the aural aspects of this

characteristic.

As stated in the Overview, the term constellation will be used

in this work to describe both the horizontal and vertical

relationships between sets of pitches in spatially notated sections.

These relationships are between the note-heads in a X-Y coordinate

system. In this movement, they were physically rotated on graph

paper then transferred onto music staves. This rotation occurred

around the mean center of the constellation (for all but the 1800

rotation, to be discussed later) and were then freely transposed.

Note-heads that did not fall exactly on a line or space on the staff

were moved to the nearest conventional position with an accidental

added to account for the alteration. As figure 2 shows, when the

constellations are rotated, the intervalic and rhythmic placement of

individual pitches may change, but the spatial relationship of these

note-heads with regard to each other remains constant.

xiv

This extra-musical device was used as a means of develop-

ment in this movement. Though the actual pitch and rhythmic

content of the constellations varied from one rotation to another,

some of the motivic characteristics remained recognizable. This was

found by trial and error to be less effective when constellations

were rotated beyond 450 from the vertical (original) position.

al 45 degree rotation 180 d e rotation

Figure 2. Rotation of constellations.

In actual performance of sections written in constellation nota-

tion, the lines connecting the pitches indicate the spatial grouping

and phrasing of the set of pitches. The note-heads are played in a

consistent time-line manner.

The constellations used in this movement are both freely com-

posed as well as derived from actual astronomical constellations. A

polar-centered star map was superimposed over a circular stave

system (figure 3). The constellations were then isolated and the

staves were straightened out. The resulting constellations were

used as source material for the final forms used in the work.

Though the integrity of the actual layout of the stars was respected,

some minor adjustments were made for aesthetic reasons. This

xv

9MMOSOMPINOWN

Figure 3. Star map with circular stave overlay.

work does not suppose to be a scientific study of the aural

properties of groups of stars, but used these formations only as an

inspiration for the creation of a musical work.

xvi

In the final copy of the score, the constellations may appear

"stretched out" along the staves. This is due to the irregular length

of the measures. During the composition of this movement, the

measures had a consistent length of 2-3/8 inches. When the con-

stellations were transferred to the final score, their spacing within

each measure was adjusted proportionally to the length between

bar lines.

The form of Movement III is Introduction-A-A'-A"-A-coda.

The A sections consist of constellations rotated to different degrees

in the harpsichord over a continual development in the strings. In

each successive rotation the strings become more imitative of, and

interactive with, the harpsichord. Each statement of the A material

is separated by a brief transitional section in the strings.

The thematic treatment in this movement centers around the

rotation of constellations and interaction with them. A complete

listing of constellations used and their source is shown in figure 4.

This illustration shows the constellations in the order which they are

presented in the A section. Freely-composed constellations were

constructed with both visual and aural properties in mind.

xvii

WOMEN~ -- -

leitmotif Ursa Major (Big Dipper)

free-composed free-co osed Leo the Lion

free-composedsi e Taurus th Bull

IF

Sfree-{ Triangulum composd- Trcnomposed imposed

Orion (partial) free-composed

Figure 4. Chart of constellations.

xviii

I

I

4

The introduction begins with a modified version of the Canis

Major (Big Dipper) constellation in the first violin. The other strings

follow this with the initial statement of the principle accompani-

mental chords (example 5).

Example 5. Robert J. Frank, Stellar Quintet, Mvt. III,Accompanimental chords in violin II, viola, and cello.

_ II I I1

p :sfz

p sfz

I~~I I UI~AI

At letter A the harpsichord makes its first statement of the

constellations in the order shown in figure 4. The accompaniment in

the strings is very thin and fragmented. At letter B the strings

briefly develop the ideas presented in the previous section.

In the first rotation at letter C, each constellation is indepen-

dently rotated clockwise 450. They are presented in the same order

and some are transposed to different pitch levels. The string parts

are more imitative in this section and begin to interact more with

the harpsichord. The transitional section at letter D is longer than

xix

the first. This time it continues directly into the next rotation

section.

This rotation centered around middle C and was at 1800,

giving the effect of literally "flipping" the staves upside-down. The

constellations are now presented in reverse (retrograde) order. The

strings have a much more active role in this section. Pizzicattos and

glissandos accentuate the various statements. These statements be-

gin by imitating the harpsichord but grow more independent as the

section progresses, building into the climactic tutti statement in the

final transitional section at letter F.

In the final A section at letter G the harpsichord has the origi-

nal non-rotated constellations in standard notation rather than con-

stellation notation, allowing the strings and harpsichord to be

metrically aligned. The strings both double the harpsichord part

and accompany that part with figures from throughout the

movement. This leads into the coda, which quietly reiterates some

of the principal ideas expressed in the movement. This then

cadences in the harpsichord with the first two chords of the

leitmotif in retrograde.

xx

MOVEMENT IV: RONDO

In contrast to the third movement, Movement IV is entirely in

standard notation. It is in rondo form A-B-A'-B'-A/B-coda. The A

sections consist primarily of tutti statements with rapidly shifting

harmonies, while the B sections are scored much thinner, with

soloistic lines over ostinato accompaniments. In the coda the

ostinato motives return, fragment, and diminish until the fifth

movement, which begins without pause.

After a dramatic opening cadence, the A theme (example 6)

begins in measure two, presented by the second violin. This theme

is the longest in the entire work, and also provides a contrast from

the motivic nature of the third movement. It immediately draws

attention to the linear aspect of the themes in this movement.

Ascending scalar passages, cadential eighth-note figures, and neigh-

boring tone motives all combine to form this theme. They are used

in alternation with one another along with shifting harmonies to

provide a unity to the theme without becoming predictable.

The accompaniment consists of sparse eighth notes in tenths.

As the theme progresses, the accompaniment becomes more interac-

tive until the last four measures where both come together

rhythmically to form the cadence. At letter A the strings briefly

develop the A theme, passing motives between the first violin and

the duo of the second violin and viola. This is followed at letter B by

xxi

the harpsichord soloing with fragments of the A theme. The strings

join in to strengthen the cadence, closing the section.

Example 6. Robert J. Frank, Stellar Quintet, Mvt. IV, A theme.

Nio-n

LP own I

AN 77 did4

At letter C the stIng nercnonclywihte_ hm

(exaple7),whic isdervedfromthepithesof te acomanimenttth Athm inteoeigsci.

xxii

41

Example 7. Robert J. Frank, Stellar Quintet, Mvt. IV, B theme.

ir ec...

Ten measures later, the viola and cello have the B theme in

sixths with ostinato lines in the violins. This continues to build until

letter D, where the viola has a solo line built upon the B theme. The

harpsichord has an ostinato accompaniment which extends the har-

monies over longer periods than the A section. The other string

parts gradually enter and help build the energy until the return of

the A material at letter E.

At this point the cello enters with the beginning of the A

theme. Canonic entrances by the other string parts again build up

the texture and then begin to fragment the theme until letter F,

where the first violin and cello state a variation of the A theme with

accented interjections by the other string parts. This section then

closes with driving eighth-notes which increase in harmonic inten-

sity until their abrupt final cadence.

The B theme returns quietly in the cello at letter G, again with

an ostinato accompaniment in the harpsichord. The cello line is

joined by the first violin at letter H. Both parts build in activity

until letter I, where the entire ensemble has fragments of the B

theme in augmentation. As the note values lengthen the tempo

broadens, creating a dramatic rallentando before the return of both

themes in the thematic final section.

xxiii

When the original tempo returns two measures before letter J,

the first violin and viola state the A theme and the second violin

and cello present the B theme. The harpsichord enters at various

points with motivic fragments of both themes. Finally, all of the

string parts come together for the final cadential chords, which are

echoed by the harpsichord and then sequenced up a step. This idea

is next augmented in the strings with the harpsichord stating them

in the same manner as the chords of the accompanimental theme

from the second movement of the work. As the harpsichord fades

out, the strings grow in dynamic and activity until the climactic

return of the leitmotif before letter L, where the coda begins.

The material used in the coda is from the ostinato figure used

in the first B section. As more parts fade out, the ideas become

smaller, softer, and more isolated. A gradual ritard reduces the

tempo, completing the group disintegration into the final movement

of the work.

xxiv

MOVEMENT V: EPILOGUE

The Epilogue serves as a brief coda to the entire work, summa-

rizing the principle motives from the previous movements. It is in a

simple two-part form A-B.

The A section consists of a quiet chorale in the strings with

short statements by the harpsichord after each phrase. The first

phrase of the chorale is six beats long and contains the leitmotif in

the cello. It is answered by a single chord in the harpsichord. The

second phrase is only four beats long and uses the accompanimental

chords of the third movement as its material. The harpsichord then

answers it with the secondary motive from Movement II. The final

two-beat phrase in the strings is extended by the harpsichord and

echoed with quiet pizzicatos in the strings, closing the A section.

At letter A the B section begins. The harpsichord and muted

strings have a collage of themes and constellations from the

previous movements. The following excerpt (example 8) labels them

as to their source. The relationships and similarities between

various themes are brought out by their close proximity. This

collage continues until eight measures after letter A, where the

strings build to a mild climax on the accompanimental chords of

Movement III. After a quiet restatement of the "Ursa Major (Big

Dipper)" motive, the work ends in the same manner as the third

movement with the same pitches (D-A) upon which it began.

xxv

U~ff~~ma

Example 8. Robert J. Frank, Stellar Quintet, Myt. V, Final collage ofthemes and constellations.

pizz

pizz

A2

MvtII: Main Theme

pizz. arco

F

Mvt.III: Free-composed(1800 rotation)

Constellation #5Mvt.III: Taurus Constellation

Av.L:AcmaietlCodI. _ _

) IMP

a

iopp

ar5S5 'Wooo-m v i v - meLk

ola R----

pp .Paso

NO i

Mvt.III: Acc. Chords

xxvi

.Mvt.I: Lietinotif

r

Mvt.II: AccompanimentalFigure

Myt.Il: Secondary Motive

xxvii

Mvt. IV: A Theme

3

Mvt IV: A Theme

Mvt.IHI: "Big Dipper" motive

Mvt. III: Free-composed

Mvt.IHI: Cassiopeia Constellacion3

Myt.LIV: B Theme _________

IF R

Copyright by

Robert J. Frank

1988

xxv il

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Note on performance of constellations:Notes should be sounded at the point in the measure/

time-line where they occur. Lines connecting the noteheads indicate only the phrasing and grouping of thepitches. Notes within constellations should be sustainedas long as possible.

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