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37? /iSI
AO, 7 W 3
Tiffi WAR POEMS: AN INTERMEDIA COMPOSITION
FOR CHAMBER ORCHESTRA AND CHORUS
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
Karl W. Schindler, B.M.
Denton, Texas
August, 1997
Schindler, Karl W., The War Poems: an intermedia composition for chamber
orchestra and chorus. Master ofMusic (Composition), August, 1997, 108 pp., 9 musical
examples, 3 figures, 3 titles.
Expanding on the concept of Richard Wagner's Gesamptkunstwerk, The War
Poems was written to combine various elements for an intermedia composition, including
music, five slide projectors, lighting, and costume.
The War Poems was written for solo male voice, chamber orchestra, and chorus.
Text used in the piece was taken from the writings of the English World War I poet,
Siegfried Sassoon. The seven sections of the piece are designated by a specific poem of
Sassoon's: Section 1. "Secret Music", 2. "The Kiss", 3. "The Dragon and the Undying",
4. "Dreamers", 5. "A Night Attack", 6. "Does It Matter?", and 7. "A Whispered Tale".
Slides used came from two sources: public domain photographs from World War I
and original photographs by Shannon Drawe.
37? /iSI
AO, 7 W 3
Tiffi WAR POEMS: AN INTERMEDIA COMPOSITION
FOR CHAMBER ORCHESTRA AND CHORUS
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
Karl W. Schindler, B.M.
Denton, Texas
August, 1997
TABLE OF CONTENTS
Page
LIST OF MUSICAL EXAMPLES iv
LIST OF FIGURES v
INTRODUCTION vi
SIEGFRIED SASSOON vii
TEXT ANALYSIS viii
MUSIC ANALYSIS xv
1. Secret Music 2. The Kiss 3. The Dragon and the Undying 4. Dreamers 5. A night Attack 6. Does It Matter? 7. A Whispered Tale
PERFORMANCE REQUIREMENTS xxiv
CONCLUSIONS xxix
BIBLIOGRAPHY xxi
THE WAR POEMS FULL SCORE 1
LIST OF MUSICAL EXAMPLES
Page
Section 1, "Secret Music", mm. 8-10 of the oboe part xivii
Section 1, "Secret Music", mm. 21-23 of the solo voice part xvii
Section 1, "Secret Music", mm. 1-3 of the piano part xviii
Section 2, 'The Kiss", mm. 60-61 of the violin I, violin II, and viola parts xix
Section 5, "A Night Attack", mm. 156-158 of the oboe part xxi
Section 5, "A Night Attack", mm. 156-158 of the bassoon part xxi
Section 6, "Does It Matter?", mm. 279-281 of the vocal parts xxiii
Section 8, "A Whispered Tale", mm. 304-306 of the solo vioce and piano parts xxiv
Section 8, "A Whispered Tale", mm. 328-331 of the piano part xxiv
LIST OF FIGURES
Page
Large Wind Chime xxvi
Seating Arrangement xxvii
Slide Diagram xxviii
During the latter half of the nineteenth century, Richard Wagner developed the idea
of creating a total artwork, or Gesamtkunstwerk, in which music, text, scenic design,
action, and staging were combined into one integrated dramatic piece. This combination
and equalization of the various media defined the nature of the piece, as though the overall
impact of the work would be seriously altered if one of the elements were deleted. This
concept profoundly affected dramatic musical compositions that followed, from the post-
Romantic period to twentieth-century opera and musical theatre. Yet, outside the
performance of opera and musical theatre, the completely integrated use of multiple art
forms has rarely been seen.
It could be said that all live music performances are multimedia events because of
the intrinsic combination of sound and movement produced by the performers. While this
is true to an extent, it is also safe to say that the overall presentation of the majority of
works is not profoundly affected by visual elements. Most pre-twentieth-century works
were written with only the musical elements in mind and could be enjoyed just as much
without visual stimuli. While the movements of the performers may have added something
to the experience, they were not essential to the performance itself.
In this respect, the term "mulitmedia" suggests that more than one medium is used
in a particular piece. This does not mean, however, that the various media are directly
integrated. Many multimedia pieces combine lighting, film, or slide projections, but the
overall musical experience is not significantly heightened unless these elements are
interrelated. Such a piece would not seem significantly lacking if certain elements were
removed; musical content could be simply listened to without the additional media, and the
listener's experience would not vary substantially.
The term "intermedia", however, suggests that the various media are working
together in an integral manner to create a multidimensional artistic experience. Ideally, the
listener's experience would be profoundly affected if any element were taken away,
whether it be the music, the slide projections, or lighting effects. While intermedia pieces
are, by nature, multimedia pieces, the composer's intent for the overall effect the audience
experiences determines whether a piece is merely multimedia or truly intermedia.
With the ever-developing technology in its varied forms, the possibilities for
creating true intermedia pieces for the concert hall are greater than ever before. Using slide
projectors, modern lighting capabilities, and precise computer control over many elements,
a "techno-Gesamptkunstwerk " can now be realized. With so many resources available,
new forms of concert hall music can be produced—different, but borrowing from
contemporary opera, musical theatre, and other multimedia works. The challenge is to
create a true intermedia piece in which all elements are essential.
I attempted to create a true concert hall intermedia piece in writing The War Poems.
With the intention of producing a piece that would use various media to convey an artistic
and emotional experience to the audience, I decided to use a text as the starting point. The
text needed to include descriptive elements that would lend themselves to representation
through various media. A text taken from the writings of Siegfried Sassoon was chosen as
the catalyst for the work's formation, and the capabilities of the Merrill Ellis Intermedia
Theatre at the University of North Texas framed the intermedia possibilities of the total
presentation. Slides used in the presentation came from two sources: public domain slides
from library sources and original photographs taken by a local photographer, Shannon
Drawe. Lighting and other dramatic elements were created with the assistance of several
people trained in those fields.
Siegfried Sassoon
Siegfried Sassoon was an English writer who served as an officer in the infantry
during World War I. Although he later loathed being called a "war poet", it was his poems
published during World War I that gained him international recognition.1 In 1914, at the
age of 27, he enlisted as a trooper in the Sussex Yeomanry. After serving in the trenches of
France for some time, Sassoon began to express his feelings about the harsh realities of
war in his memoirs and poems. While maintaining poetic elegance in his presentation,
Sassoon detailed horrific scenes that he had personally witnessed or heard about.
Sassoon's poems were published in collections and in the newspapers of England
during and after the war. For the first time in history, blunt, descriptive accounts about war
were published while the war was actually in progress. The idea of war as a romantic and
heroic adventure was shattered as fellow countrymen read and discovered for the first time
(or were reminded) that war was not something to be praised or thought of in a sentimental
manner. Sassoon even issued a statement (referred to later as an "absurd proclamation" by
army officials) against the continuation of the war in July of 1917 which was read in the
House of Commons and reported in The Times the next day.2 To say that this strong
proclamation against war coming from an officer had a profound effect on the country is
certainly a gross understatement. The civilian population began to realize the true horrors of
war and grew weary as the possibility of peace seemed dim. After deciding Sassoon had
been suffering from shell-shock, army officials deemed he was fit for general service and
sent him back to the trenches.3 Sassoon, however, continued to write his memoirs and
poems condemning the war until he officially retired from the Army in 1919.
Text Analysis
Seven of Sassoon's poems written during his service in World War I were chosen
for this piece. They were selected based upon their content and overall tone, then arranged
1 Rupert Hart-Davis, "Introduction" of his ed. of The War Poems by Siegfried Sassoon (London: Faber and Faber, 1983). 2 Siegfried Sassoon, The War Poems, ed. Rupert Hart-Davis (London: Faber and Faber, 1983), 13. 3 Ibid.
in an order that would reinforce the dramatic effect of the presentation. The tone of the
poems ranges from the mysterious, to the ironically humorous, to the pathetically
sorrowful. The text itself created the mood from which all elements, aural and visual, were
created. (Text deleted in the editing process is italicized.)
Secret Music
I keep such music in my brain No din this side of death can quell; Glory exulting over pain, And beauty, garlanded in hell.
My dreaming spirit will not heed The roar of guns that would destroy My life that on the gloom can read Proud-surging melodies of joy.
To the world's end I went, and found Death in his carnival of glare; But in my torment I was crowned, And music dawned above despair.
Written in December of 1916, this poem illustrates Sassoon's ability to mystify and
cloud the commonly held notions concerning fighting in a war. Death, destruction, gloom,
torment, and despair are mentioned within the same three stanzas as music, glory, beauty,
and joy. This combination of contrasting ideas presents a feeling of confusion mainly
because both sets of elements are quite familiar to the author, either from natural or forced
experience. The "Secret Music" is what keeps the author from going completely insane in
an insane situation; a poet is forced to fight in a bloody war. The only escape is that which
can be achieved in the mind by dreaming or the deliberate evasion of reality, as if the mind
and soul have the ability to leave while the body remains physically in the war trenches.
The Kiss
To these I turn, in these I trust— Brother Lead and Sister Steel. To his blind power I make appeal, I guard her beauty clean from rust.
He spins and burns and loves the air, And splits a skull to win my praise; But up the nobly marching days She glitters naked, cold and fair.
Sweet Sister, grant your soldier this: That in good fury he may feel The body where he sets his heel Quail from your downward darting kiss.
This early war poem, written in April of 1916, referred to a lecture Sassoon
attended while at a four-week combat refresher course in Flixecourt, France. The lecture
entitled "The Spirit of the Bayonet" was given by a Scottish Major, and was filled with
such comments as: "The bullet and the bayonet are brother and sister." "If you don't kill
him, he'll kill you." "Stick him between the eyes, in the throat, in the chest." "Don't waste
good steel. Six inches are enough. What's the use of a foot of steel sticking out at the back
of a man's neck?"4 These words haunted Sassoon and inspired this poem which elaborates
on the absurdity of such an analogy. Such analogies personifying and romanticizing war
were common at the time, as they probably have been for all wars.
The Dragon and the Undying
All night the flares go up; the Dragon sings And beats upon the dark with furious wings; And, stung to rage by his own darting fires, Reaches with grappling coils from town to town; He lusts to break the loveliness of spires, And hurl their martyred music toppling down.
1 Siegfried Sassoon, Memoirs of an Infantry Officer (London: Faber and Faber, 1930), 12.
Yet, though the slain are homeless as the breeze, Vocal are they, like storm-bewilder'd seas. Their faces are the fair, unshrouded night, And planets are their eyes, their ageless dreams. Tenderly stooping earthward from their height, They wander in the dusk with chanting streams, And they are dawn-lit trees, with arms up-flung, To hail the burning heavens they left unsung.
The Dragon is a theme that Sassoon utilized often in his war-era writings, poetically
personifying the destructive elements of war. "The Dragon and the Undying" is among his
earliest war poems. Sassoon called these early writings the beginning of his so-called
"outspoken" poems due to their negative views of the war.5 The poem mourns the
destruction created by man, yet also praises nature for being able to continue, somehow,
unhampered. In a way, the poem represents the hope a person needs as reassurance that
there is something better than the present situation.
Dreamers
Soldiers are citizens of death's grey land, Drawing no dividend from time's to-morrows.
In the great hour of destiny they stand, Each with his feuds, and jealousies, and sorrows.
Soldiers are sworn to action; they must win Some flaming, fatal climax with their lives.
Soldiers are dreamers; when the guns begin They think offirelit homes, clean beds and wives.
I see them in foul dug-outs, gnawed by rats, And in the ruined trenches, lashed with rain,
Dreaming of things they did with balls and bats, And mocked by hopeless longing to regain
Bank-holidays, and picture shows, and spats, And going to the office in the train.
Sassoon, The War Poems, 22.
Continuing the theme of escapism from the war, "Dreamers" adds details to what
soldiers must do to retain their sanity and overcome their fears. This was one of the poems
written while Sassoon was at Craiglockhart War Hospital near Edinburgh.6 It was during
this period that Sassoon began to grow extremely weary of the war, and his statement
against the continuation of the war was read in the House of Commons around the same
time. As does the concept of the "Secret Music", actual memories of life before the war not
only help the soldiers perform their duties without going mad, but also add the negative
effect of lowering morale.
A Night Attack
The rank stench of those bodies haunts me still, And I remember things Yd best forget. For now we've marched to a green, trenchless land Twelve miles from battering guns: along the grass Brown lines of tents are hives for snoring men; Wide, radiant water sways the floating sky Below dark, shivering trees. And living-clean Comes back with thoughts of home and hours of sleep.
To-night I smell the battle; miles away Gun-thunder leaps and thuds along the ridge; The spouting shells dig pits in fields of death, And wounded men are moaning in the woods. If any friend be there whom I have loved, God speed him safe to England with a gash.
It's sundown in the camp; some youngster laughs, Lifting his mug and drinking health to all Who come unscathed from that unpitying waste. (Terror and ruin lurk behind his gaze.) Another sits with tranquil, musing face, Puffing his pipe and dreaming of the girl Whose last scrawled letter lies upon his knee. The sunlight fills falls, low-ruddy from the west, Upon their heads; last week they might have died; And now they stretch their limbs in tired content.
One says, "The bloody Bosche has got the knock; And soon they'll crumple up and chuck their games.
Sassoon, The War Poems, 88.
We've got the beggars 011 the run at last!" Then I remembered someone that I'd seen
Dead in a squalid, miserable ditch, Heedless of toiling feet that trod him down. He was a Prussian with a decent face, Young, fresh, and pleasant, so I dare to say. No doubt he loathed the war and longed for peace, And cursed our souls because we'd killed his friends.
One night he yawned along a half-dug trench Midnight; and then the British guns began With heavy shrapnel bursting low, and "hows" Whistling to cut the wire with blinding din.
He didn't move; the digging still went on; Men stooped and shoveled; someone gave a grunt,
And moaned and died with agony in the sludge. Then the long hiss if shells lifted and stopped.
He stared into the gloom; a rocket curved, And rifles rattled angrily on the left Down by the wood, and there was noise of bombs.
Then the damned English loomed in scrambling haste Out of the dark and struggled through the wire, And there were shouts and curses; someone screamed And men began to blunder down the trench Without their rifles. It was time to go: He grabbed his coat; stood up, gulping some bread; Then clutched his head and fell.
I found him there In the grey morning when the place was held. His face was in the mud; one arm flung out As when he crumpled up; his sturdy legs Were bent beneath his trunk; heels to the sky.
Glory of Women
You love us when we're heroes, home on leave, Or wounded in a mentionable place. You worship decorations; you believe That chivalry redeems the war's disgrace. You make us shells. You listen with delight, By tales of dirt and danger fondly thrilled. You crown our distant ardours while we fight, And mourn our laurelled memories when we 're killed. You can't believe that British troops "retire " When hell's last horror breaks them, and they run, Trampling the terrible corpses—blind with blood.
O German mother dreaming by the fire, While you are knitting socks to send your son His face is trodden deeper in the mud.
"A Night Attack" was written in July of 1916, surprisingly earlier than most of
Sassoon's war poems. The graphic retelling of a typical battle would probably have been
unsettling enough for British civilians, but to describe it from the enemy's point of view
would have been considered shocking. The idea of a British officer sympathizing with a
dead German soldier would certainly not have been palatable to army commanders and, in
fact, this poem was not published until 1970.7 Sassoon quickly discovered how ridiculous
war was for the soldier since regardless of which side he was fighting for, the soldier was
fighting other peoples' battles. In another time, the enemy could have easily been
considered a friend. The haunting words of "Glory to Women" add to the realization that
the enemy soldiers have their own families that care and worry about them, as well.
Does It Matter?
Does it matter?—losing your legs?... For people will always be kind, And you need not show that you mind When the others come in after hunting To gobble their muffins and eggs.
Does it matter?—losing your sight?... There's such splendid work for the blind; And people will always be kind, As you sit on the terrace remembering And turning your face to the light.
Do they matter?—those dreams from the pit?... You can drink and forget and be glad, And people won't sat that you're mad; For they'll know that you've fought for your country And no one will worry a bit.
Another Craiglockhart poem, "Does It Matter?" was written during the period of
Sassoon's most bitter reflections of the war. After seeing so many friends and comrades
butchered from battle, the attitudes toward these injured veterans began to greatly anger
7 Sassoon, The War Poems, 43.
him. The sarcastic tone of the poem conveys these feelings and tries to point out, once
again, that the fighting is not worth the end result for the common soldier.
A Whispered Tale
I'd heard fool-heroes brag of where they'd been, With stories of the glories that they'd seen. But you, good simple soldier, seasoned well In woods and posts and crater-lines of hell Who dodge remembered "crumps" with wry grimace, Endured experience in your queer, kind face, Fatigues and vigils haunting nerve-strained eyes, And both your brothers killed to make you wise; You had no babbling phrases; what you said Was like a message from the maimed and dead. But memory brought the voice I knew, whose note Was muted when they shot you in the throat; And still you whisper of the war, and find Sour jokes for all those horrors left behind.
"A Whispered Tale" was written the same month as "Secret Music". The poem
comments on the myth of the "romance of war" by showing that it is not necessarily the
civilian population that continues this myth, but some veterans themselves who contribute
by telling stories of fighting in the war as if they were reminiscing about their childhood.
The specific veteran mentioned here differs from others in that after facing the horrors of
war, he chooses not to indulge in romantic tales. Realistic memories mixed with a sense of
humor have helped ease the pain of war over time. Ironically, the veteran that can offer the
most important insights cannot speak above a whisper, since he was shot in the throat
during battle.
Music Analysis
The War Poems is divided into seven sections, each with a theme from a poem or
poems by Siegfried Sassoon. The selection of poems corresponded directly to the tone of
each section. The setting of the text guided the composition of each section not only in
structure but also in musical content. Rhythmic and pitch decisions were almost entirely
determined by the text's naturally spoken rhythms and inflections. This method of setting
text was chosen because of the theatrical elements necessary for the piece. Since the text
would be the leading factor in expressing the content of the piece, the chosen method of
setting text would need to encourage comprehension by the audience.
The order of the seven sections was, once again, chosen in a manner that would
convey the content of the piece in the most dramatic way. Varying levels of emotional
content were organized to maximize the effect of musical climaxes and anti-climaxes. The
seven sections were named after the selected poems: Sections 1. "Secret Music", 2. "The
Kiss", 3. "The Dragon and the Undying", 4. "Dreamers", 5. "A Night Attack", 6. "Does It
Matter?", and 7. "A Whispered Tale". Section 5 also used text from another poem, "Glory
of Women".
After the specific order and framework of the piece were organized, the text was
edited to streamline the content and keep the piece within twenty minutes in duration.
Decisions about what would be sung or spoken, as well as what would be performed by
the solo voice or the chorus, were made at this time. Specific ideas for some of the slide
projections on the rear wall were noted during this process as well. Finally, complete
instrumentation was decided upon and musical sketches of each movement were begun.
The sections were created by first sketching out the text's musical content, adding some
specific accompaniments and orchestrations along the way, and then scoring for the
complete ensemble. The penciled score for each section was then entered into a Macintosh
computer running the Finale music notation program.
1. Secret Music
Since this poem refers to the "secret music" that helps the soldier maintain his
sanity, it was decided that a musical theme directly relating to this idea would be the catalyst
for the entire piece. The overall significance and importance of the "secret music" idea can
be heard both in the text and in the musical themes. This theme, first played by the oboe,
would be repeated, altered, developed, and compressed throughout the piece. The "secret
music" theme (Ex. 1), was kept simple enough for two reasons: 1) the number of notes
used was minimal and thus could be recognized easily after manipulation, and 2) the
theme's pitches expanded in both directions, allowing for manipulation in either direction.
In comparison, the solo voice's first phrase is the same "secret music" theme but modified
with additional notes (Ex. 2).
Example 1. Section 1, "Secret Music", measures 8-10 of the oboe part.
i •> l ' | r i ' d i P mf
Example 2. Section 1, "Secret Music", measures 21-23 of the solo voice part.
I keep such mu - sic in my brain
The pitches chosen for this theme dictated many accompanying parts found
throughout the piece. For example, the piano's rapid-fire chords in the opening measures,
as well as the quarter-note chords found a few measures later, are merely a compression of
the solo voice's first two phrases (Ex. 3).
Example 3. Section 1, "Secret Music", measure 1-3 of the piano part.
The section ends with all voices repeating the words "despair". On the final
iteration, the chorus sings a chord whose note content is a compression of the main
thematic material for Section 2, "The Kiss". A crescendo builds the section to a climax and
the next movement begins attacca.
2. The Kiss
The opening theme played by the flute and xylophone sets the tone of this section
from the first measure. The entire text for this section mocks the idea of personifying the
bullet and bayonet as brother and sister, and a playful yet awkward theme permeates the
entire section. Since weapons of war are discussed, a strict rhythmic figure of sixteenth-
notes (reminiscent of machine guns) was chosen to underline the accompaniment. Adding
confusion to the whole bizarre notion of the text, the strings repeat the original sixteenth-
note theme, but the various parts are out of phase with one another (Ex. 4).
Example 4. Section 2, "The Kiss", measures 60-61 of the violin I, violin II, and viola parts.
The text sung by the solo voice contrasts this strict but asynchronous regularity
with a very rhythmically fluid setting, adding a variety of subdivided figures to the mix. In
the middle of this section all performers drop out temporarily except for the flute. At first
this passage appears to provide relief from the previous jumble of rhythms, but a measure
later the strings enter with triplet figures that create a polyrhythmic effect. The pitches
played by the strings are, in fact, the same pitches found in the opening flute/xylophone
theme but played in retrograde. After another passage of rising tension, the tone of the
section seems to calm down. The deception does not last long, however, as the confusion
returns in the last few measures, ending with a sixteenth note melodic fragment that is
passed throughout the ensemble from highest to lowest registers. The final pitches of the
melodic fragment are found in the "secret music" theme.
3. The Dragon and the Undying
After a brief pause, the third section begins with the oboe replaying the "secret
music" theme, bringing back the realities of war and the need for escape. A slow instru-
mental interlude ensues, setting the tone for the section. Compositionally, this interlude
was written with the idea of using individual instruments moving only within a half or
whole step of each other but displaced by different octaves. The resulting effect is one
suggesting both consonant and dissonant harmony. This section does not include a part for
the solo voice, so the chorus presents the text. After an a capella section by the chorus, the
instrumentalists reenter in an accompanying role. To end the section, another instrumental
section similar to the first is played, this time with the addition of spoken text. The four
stanzas are each spoken by one member from the four sections of the chorus but with
staggered entrances. The resulting jumbled text creates a thick texture of speech, but the
audience can occasionally hear individual phrases. By the time the final text, "to hail the
burning heavens left unsung," is spoken, all music has ceased.
4. Dreamers
This short section provides a prelude to the upcoming battle section. The text refers
to the soldier's ability to daydream about his past life in order to cope with the present war
situation. Since these memories have nothing to do with the war, there are no thematic
elements that occur elsewhere in the piece. A very broad section in B major occurs when
the text refers specifically to memories of bank-holidays, picture shows, and spats—
elements certainly not found at the front. The sudden use of blatant tertian harmony
suggests a level of stability for the soldier at the height of his fond memories. Yet the reality
of the war returns, and with that, a chord is heard composed of the notes from the main
thematic material of Section 2.
5. A Night Attack
As battle is the main element of war, this section (reliving a battle) is the longest in
the piece. The text is more narrative than that of the other sections, so the instrumental parts
are mostly accompanimental. Much of the rhythmic and pitch material in this movement is
shaped into palindromes—rhythms and melodies having a center pivot where the previous
rhythm or pitch is repeated in retrograde. For example, the oboe's entrance is a rhythmic
and pitch palindrome spread over three measures:
Example 5. Section 5, "A Night Attack", measures 156-158 of the oboe part.
m mf
f T ;7 H f Iiir v (̂ f
Sometimes, palindromes within palindromes can be found, as in the piano and bassoon
parts (Ex. 6). A quarter of the way through the palindrome, the line mirrors itself and then
continues with the other half of the palindrome, mirroring itself once again.
Example 6. Section 5, "A Night Attack", measures 156-158 of the bassoon part.
•n iTun flu mf
The percussionists play various metallic instruments in varying rhythms, creating a
thick polyrhythmic texture. The polyrhythms mimic the mechanical and repetitive sounds of
the various weapons heard in battle. No programmatic realizations of specific weapons are
heard, but the spirit of man-made devices is represented. Several previously heard themes
return during this section, such as the "secret music" heard in the horns as a rhythmic
palindrome. The solo voice quotes the opening pitches of the piece but with a different text
in this section, accompanied by the piano and chorus using the same chords found in the
opening section.
As the text changes tone in this extended section, so does the musical content. The
soldier begins to retell the story of his discovery of a dead German soldier after a battle and
of his reflections on what the dead man may have been like. The musical accompaniment at
this point is very slow, reminiscent of a dirge. The soldier shows remorse for the dead
enemy and reenacts the moments in the German soldier's life before he was killed. As the
author's speculation continues, the music becomes more anxious and intense. As the
German soldier waits to attack, he observes his surroundings. The flute and xylophone
begin an underlying accompaniment of a chromatic pattern repeated multiple times. This
pattern expands and contracts back and forth as the soldier's emotions ebb and flow. A
great crescendo in the suspended cymbal announces the next segment in which the German
soldier has to leave the trench and fight on the field. The accompaniment to the solo voice's
narrative is very abrupt and militant, becoming increasingly louder up to the point where
the German soldier is shot and killed. After the initial shock of the German soldier's
demise, a slow lament to the deceased's mother is sung by the solo voice.
6. Does It Matter?
The frustration felt by the author about war is equally represented by the tone of the
musical content in this section. Following so many images of despair, this section builds to
the climax of the piece before the final epilogue-like seventh section. After a brief choral
exposition declaring the angry tone of the section, a slow methodical ground bass is begun
with the basses in the chorus and the cello. This ground continues throughout the section
while the other parts are added above it. As the section progresses, instrumentalists double
the lines sung by the chorus, adding more performers to create a thicker texture. The
sarcastic tone of the text is best represented musically by the alto line. The repeating
sequence of G, E, G, Eb almost taunts the listener in its insistence. The addition of various
parts creates a texture filled with varying rhythms, entrances, and text (Ex. 7), resulting in
asynchronous lines. Although the bass line repeats the ground within a 4/4,2/4, and 3/8
grouping of measures, the other parts are not confined by these metrical groupings. Within
the last few measures, however, all parts line up for the final climactic crescendo leading
into the final section.
Example 7. Section 6, "Does It Matter?", measures 279-281 of the vocal parts.
* J J J J from the pit? Does
mat
i J J
Do they mat - ter; dreams from the
I
ter?
ter los
Do they mat- ter; dreams from the pit? You can drink, for - get, be glad.
7. A Whispered Tale
The final section consists almost entirely of the melody in the solo voice with the
strings and piano providing accompaniment. After an increase in dissonance and volume
from the previous sections of the piece, the final section maintains a more subdued tone.
The text itself explores questions on the value and ludicrous nature of war. The solo voice
line has a rhapsodic character, freely wandering rhythmically through the harmonic
progression, while the accompanying parts play mostly quarter notes. The accompaniment
lays the strict foundation for the harmonic progression of the section, while the solo is free
to move around in the harmonic environment at its own pace, frequently anticipating the
change to a new chord before the accompaniment (Ex. 8).
Example 8. Section 8, "A Whispered Tale", measures 304-306 of the solo voice and piano part.
But you, good sim-ple sol-dier, sea-soned well-
* j-j-j-j-r ill 11 /
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H
The first melody sung by the solo voice in the first section (the modified "secret
music" theme) returns again as the last melody sung in the piece. This time, however, the
tone of the text is decidedly different. The piano ends the piece by continuing the chords,
ascending registrally and diminishing in volume throughout. The piece ends on a non-
terminating chord, leaving the audience to question all that has been presented (Ex. 9).
Example 9. Section 8, "A Whispered Tale", measures 328-331 of the piano part.
HI_T if f P WF F P IT r II pp dim.- PPP
Performance Requirements
The musical portion of the piece is presented by four groups of musicians plus a
solo male voice. Each part is played by one musician, except for the chorus, which requires
at least three on a part. The piece may be performed with additional musicians if a larger
ensemble is desired.
The required wind instruments include flute, oboe, clarinet in Bb, two horns, and
bassoon. The requisite strings include violins I and II, viola, cello, and double bass. The
chorus is a regular SATB chorus. At least twelve musicians are necessary in the chorus,
but more may be added. Individual members of each section of the chorus will be
instructed to speak various parts of the text.
Four individual percussion parts are required. The parts have been arranged so that
only one performer per part is needed. More performers may be added if necessary, but
this is not preferred.
Percussion 1 requires the following instruments: kick drum, bass drum,
vibraphone (with and without motor on), car brake drum, and snare
Percussion 2 requires the following instruments: tom-toms, suspended cymbal,
xylophone, large wind chime, and car brake drum
Percussion 3 requires the following instruments: snare, castanets, chimes (tubular
bells), large gong, marimba, and car brake drum
Percussion 4 requires the following instruments: timpani, long metal tube, temple
blocks, car brake drum, Glockenspiel, and old-style light switches
Some of the percussion instruments require further explanation. The four car brake
drums should be pitched in descending order from Percussion 1 - 4. The specific pitches
themselves do not matter, but they must be in descending pitch order as indicated. The
large wind chime is an exaggerated version of a three-sided, triangular wind chime (Fig.
1). The long metal tube is approximately four feet long. It is suspended and played in the
same manner as chimes. The old-style light switches are the older kind of wall switches
that "click" when moved into the on or off position.
Figure 1. Large Wind Chime.
The solo male voice is classified as a low tenor or a high baritone. The range is
from C# below middle C to G above middle C.
Seating is to be arranged similarly to that of Figure 2. The chorus is in the center,
percussionists surround the entire ensemble, the wind and string players are seated in a
common chamber orchestra arrangement with strings in front and winds behind, and the
solo male voice stands on the conductor's left.
All performers are to wear dark clothing (but not formal attire) except for the solo
male voice. He should wear something that would be appropriate for a 1920s-1930s era
professor. Possibilities include a tweed suit with a bow tie and steel-rimmed glasses.
The slides used in the piece are projected onto a 180° wall/screen similar to the
screen in the Merrill Ellis Intermedia Theatre at the University of North Texas. The five
slide projectors required are located behind the audience, preferably raised significantly
above their heads. Projection positions on the screen are numbered 1 - 5 from left to right.
The projectors themselves should be positioned in the opposite direction so that the correct
projection angle will be attained (Fig. 3). Each slide projector's carriage should hold a large
number of slides. The slides come from both the public domain and original sources. Slide
projector cues are marked in the conductor's score and are controlled by an AVL Genesis
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computer control system and two dissolve untis. A great deal of time must be invested in
programming the machine to cue the correct projectors and fade times for each cue. During
performance, the slide projector operator should only need to execute each cue with a single
operation; the Genesis computer will control which projector is activated and the length of
time the projected image will remain on the screen.
A line for noting lighting effects is provided in the conductor's score. Specific
changes in lighting should be controlled by a semi-automated lighting system. As with the
slides, the lighting operator should only need to execute cues with a single operation. The
possibilities of lighting effects are determined by the capabilities of the performance hall.
Lighting effects should primarily add color to the slides, but should also be used for
dramatic effect with the music.
Conclusions
The possibilities of creating true concert hall intermedia pieces are seemingly
endless. Modern technology has provided a unique outlet for the exploration of artistic
presentation. The level of control over the audience's reactions to a piece has never been as
great as it is today. Like "performance artists" in the arena closer to popular music,
composers of "contemporary art music" can attempt full intermedia works of art and have
them performed in the concert halls of universities and cities. This form of artistic
expression, borrowing heavily from but not dominated by any one single discipline, will
guide the future of artistic performance.
As new technologies progress, so will artistic works. It would seem justified to
state that the ultimate level of artistic expression is the combination of multiple sensory
stimuli. Perhaps the field of virtual reality will play an important role in the future to
achieve this end. An "audience participant" could enter a complete environment designed
specifically for the artistic presentation of an idea or piece. A virtual reality War Poems
might require the participants' actual entrance into the trench-filled battlefields of France
during World War I in order to fully understand the meaning of Sassoon's words. All
elements, from the music to the sights, smells, and tastes of the overall environment will
create the ultimate in experiencing a work of art.
Until technology reaches a point where these ideas can become a reality, however,
composers can explore a wealth of possibilities with what is available now. Through such
exploration, new forms of artistic expression will be created, and the audience members'
concert experience will be greatly enhanced.
BIBLIOGRAPHY
Hart-Davis, Rupert. "Introducation" of his ed. of The War Poems by Siegfried Sassoon. London: Faber and Faber, 1983.
Sassoon, Siegfried. Memoirs of an Infantry Officer. London: Faber and Faber, 1930.
Sassoon, Siegfried. The War Poems, ed. Rupert Hart-Davis. London: Faber and Faber, 1983.
( transposed score)
1. Secret Music
THE WAR POEMS
Slow and pensive = so) Karl W. Schindler
1995 Slides
Lights
Flute
Oboe
Clarinet (B-fiatf
Horns 1-2
Solo Voice
Soprano
Alto
Tenor
Percussion 1
Percussion 2
Percussion 3
Percussion 4
Piano
Violin /
Violin II
Viola
CeUo
Slow and pensive (J = eo)
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Ooo Ahh
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Ooo Ahh
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keep such mu- sic in my
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side of death can quell; pain. and beau- ty
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in - side my
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a tempo
would de- stroy my life that on the gloom can me - lo- dies of
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Suddenly
Suddenly
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H | Slower(J = 55>
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To the world's end I went, and found Death in his
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car-ni- vat of dare; but in my tor-meat I was crowned, O t
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Mu - sic dawned
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2. The Kiss
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* — * — *—RS
A famous Scotch major came and lectured us on the bayonet
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bayonet and bullet
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To these I turn, in
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H - g R
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I guard her bea - ty clean from
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and loves the air,_ And
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their mar - tyred mu - sic fay pling down.
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Yet. though the slain are Vocal are they, like storm
lomciess as the breeze bcwiidcr'd teas.
Yet, though the stain are h ameless as the breeze Their faces are the fair, ui shrouded night, Tenderly stooping earthn ard from their height. Vocal are they, like storm bcwiidcr'd And planets are their eyet their ageless dreams.
Their faces are the fair, un throuded night. Tenderly stooping earthw ird from their height, They wander tn the dusk' rith chanting streams.
And they are dawn-lit tret s, with arms up-flung To hail the burning heart ns they left unsung.
And planets are their eyes their ageless dreams
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with arms up-flung hey left unsung.
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4. Dreamers
Slowly musing ( J = 5 s )
Soldiers are citizens of death's grey land. Drawing no dividend from time's tomorrows
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BUS. CYM.
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I see them in foul dug-outs, gnawed by rats, and in the ru-ined Iren- chcs, lashed with rain
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ing of things they did with balls and bats. and mocked by hope - less
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5. A Night Attack
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| The rank stench of those bodies haunts me still, and I remember things I'd best forget.
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scathed from that un - pit - y
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6. Does it Matter?
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Does it real - ly mat -like your legs? mat - ter?
Does it ter? Does it mat - ter?
ios - ing your leg? Does it mat- ter?
Does it ma Does it mat-ter los- ing your legs?
® I , Deliberately (J = go)
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your legs? Does it
Does it mat-ter los-ing your legs? Do they mat - ten dreams from the pit? You can drink, for - get, be
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los • uig your
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Pfco-ple wont say that you're mad; for they'll know you've fought for your land.
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know you've fought wont u y that you're mad; for iheyll
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They'll know you've fought for your land and no one will wor- ry a bit
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7. A Whispered Tale
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rd heard fod-he-iocs brag of where they'd been of the glo- lies that they'd
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con sordino
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But you, good rim - pie sol- diet, seasoned well
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A little faster
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and potto and era-tor- lines of En-dured ex- per-ience in your queer, kind— face
309
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when they shot you in Ihe whose note was mut- ed— But mem'- ry brought the voice I knew
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