Pre-Raphaelite II: March 8th, 2008 Mystery Play: A Definition | The Creation: Advanced Tour |
Page 2 of 3 Minor/major thirds govern the proceedings in the way the major 7 chord governs the evolution of Brahms' op. 88. What Brickle specifically witholds until later is the aggregate's completion with an F, in conjuction and direct relation to the minor third/major third proceedings and as a expressive filling-in of a hole in the chromatic space. The full dramatic poetential of the completion as a completion is coyly witheld until this point. The aggregate comes into its own at the end of the 4rth day. In m.115, F completes an aggregate, but in a more striking manner that ties in with all the other layers of structual unfolding. Prior to this expressively activated aggregate, the aggregates hide in the background. They humbly serve the archaisms that appear roughly in historical order, and they are used with great flexibility to create the Brahms-type large-scale structure.** I fancifully characterize these archaisms as follows--Opening: Medieval, Perotin 5ths; Day 1: a plagal cadence (aka church cadence); Day 2: Stravinsky; Day 4: Gershwin; End of Day 4: Schoenberg (the aggregate comes into its own); Day 5: Babbitt (the fanfare of partition boundaries). Brahms is the circle whose center is everywhere and whose circumfrence is nowhere. (Brahmsian backgrounds are just as important in Schoenberg & Babbitt. The more I understand this level of structure, the clearer it becomes that it's electrive, willful, composed in Babbitt & Schoenberg, as well as Brickle. People always misunderstand it, assuming it's derived from some mathematical formula.) |
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