new simplicity school antonio celso ribeiro - cópia

8/22/2019 New Simplicity School Antonio Celso Ribeiro - Cópia

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XX-XXI A century of „isms‟ and „neos‟

Some reflections about the

New Simplicity School



New Simplicity School

Technical Procedures of

Antonio Celso Ribeiro‟sMusical Language



One brief word...

• “Some Composers are not Islands” is the

name of Kyle Gann‟s article.

• The author refers to the role thatcomposers now are devoted: to analyzethe other composers' music and tounderstand/to identify the

contained/received influences.



György Ligeti:

• “I tend to not have a very high regard for

artists who develop their compositionalesthetics in just one way and produce thesame throughout their lives. In my ownwork, I prefer to put constantly acompositional process into questioning,

changing it, even to abandon it andreplacing it with another process”.



Cage wrote a mesostic for Nancarrow that reads:

• “oNce you / s Aid / wheN you thought of /musiC, / you Always / thought of youR own / neveR / Of anybody else‟s. / that‟s

hoW it happens.” (Gann)



• According to Gann, “a life exclusivelyfocused on my own music seemsunimaginable. My musicological workfeeds my composition, and vice versa.When I've been doing too much critical

work and not composing, I get cranky; andwhen I've been composing continuously, Idry up a little, and I start to need the

interaction with the music of others.”



“It's not that I steal so many ideas from

other composers, though of course I never scruple to do that. Nothing about the other people's music I'm working on went into

the piece I just finished. I just need thatrejuvenation from other artist's ideas, themere presence of simpatico music I didn'twrite.”



“Schumann certainly spent a lot of his career

inside other composers' heads, and seemsto have enjoyed having a trunkload of Schubert's manuscripts in his apartment,from which to draw for the occasional

world premiere whenever he fancied. Lisztplayed the piano music of every significantcontemporary except Brahms (who

offended him by falling asleep at thepremiere of Liszt's B minor Sonata).”



“Part of it is what I think Henry Cowell

sensed: that there's no such thing as afamous composer in a musical genre noone's heard of, and so one's personalsurvival depends on a rising tide raising all

boats. But Morton Feldman also tells astory of an artist in the '50s who, after seeing Jackson Pollock's first astounding

exhibition of drip paintings, remarked, "I'mso glad he did it. Now I don't have to”.”



“I hear an exquisite piece like John Luther

Adams's The Light Within, and I do think,somehow, "I'm so glad he did it, now Idon't have to" - partly because I want tohear that kind of ecstatic wall-of-soundgenre, and he can so it much better than Icould. Mikel Rouse's music is so muchmore sophisticated than my intentionally

naive fare, but listening to him gets meback on track.”



Philosophical Bearings

Leonard Meyer [(1956). Emotion and

Meaning in Music. Chicago: ChicagoUniversity Press.] begins by defining and

contrasting classic positions inphilosophical aesthetics. He outlines twocontrasting dichotomies: the absolutist

versus referentialist views, and theformalist versus expressionist views:



• ABSOLUTIST: "musical meaning liesexclusively within the context of the work

itself." • REFERENTIALIST: "musical meanings

refer to the extramusical world of

concepts, actions, emotional states, andcharacter."



• FORMALIST: "the meaning of music liesin the perception and understanding of themusical relationships set forth in the work

of art and that meaning in music isprimarily intellectual"

• EXPRESSIONIST: "the expressionist

would argue that these same relationshipsare in some sense capable of excitingfeelings and emotions in the listener"



If an art medium is seen more as a tool for communicating meaning, (…) then it has a chance to

go far beyond its own self, to reach the cross-point of all artistic genres where the essence is not the resultof expression, but the subject of it. (Stanojevic, 2004)



The New Simplicity School

New Simplicity (in German, die neue Einfachheit ) was astylistic tendency amongst some of the younger generation of German composers in the late 1970s andearly 1980s, reacting against not only the European

avant garde of the 1950s and 1960s, but also against thebroader tendency toward objectivity found from thebeginning of the twentieth century. Alternative termssometimes used for this movement are "inclusivecomposition", “new subjectivity” (neue Subjektivität ),

“new inwardness” (Neue Innigkeit ), “New Romanticism”,“New Sensuality”, “New Expressivity”, “New Classicism”,and “New Tonality”.



Goals

In general, these composers strove for an immediacybetween the creative impulse and the musical result (incontrast to the elaborate precompositional planningcharacteristic of the avant garde), with the intention also

of communicating more readily with audiences. In somecases this meant a return to the tonal language of the19th century as well as to the traditional forms(symphony, sonata) and instrumental combinations(string quartet, piano trio) which had been avoided for

the most part by the avant garde. For others it meantworking with simpler textures or the employment of triadic harmonies in non-tonal contexts.



Arvo Pärt

• "I have discovered that it is enough whena single note is beautifully played. Thisone note, or a silent beat, or a moment of

silence, comforts me. I work with very fewelements - with one voice, with two voices.I build with the most primitive materials -

with the triad, with one specific tonality."



The „new simplicity‟ in my works

• Motto:

‘behind its apparent simplicity lays a

great complexity’

• Aesthetic attitude:

‘emphatic focus on subjectivity and

expressivity’ and the ‘quest for

communication with the audience’



• Although I‟ve been exploring a widemusical idiom, from modal scales tomicrotonalisms, my recent works have

been classified in the field of NewTonalism and the New Simplicity School,always having as a starting point a text, a

poetry or imagery regardless of languages, time or country.



Antonio Celso Ribeiro Analysis of some of his Compositions

• Resonances• Medieval compositional procedures• Baroque style• Tonic pedal

• Weak or very simple harmonic progressions• Thematic similarities between different works; reorchestrations• Predominance of an unique compositional element• Homophony• Time signatures in agreement with the musical phrases; metrical

assimetries• Contradictory notation – rhythmical paradoxisms• Melody forms (scales, fragments, ect)• Extended techniques



• Resonances...There are 3 kinds of resonances in my compositions:• The first one deals with sounds residues left by dissonant cluster-

like chords changing afterward into consonances played by thepiano (examples shown here: “El Diablo y la Melancolía”; “Break

Away – Secrets”);

• The second one deals with resulted consonance/dissonance byholding down the respective piano key after the note is played(examples shown here: “el caballero de la triste figura”; “The

Bethsaida Miracle – ato secondo);

• The third one deals with sympathetic vibrations, pressing down

some assigned keys without sounding it and playing others notes inorder to make the pressed key notes to vibrate (examples shownhere: “H - Palavras Soltas”; “Outono”)



Break Away - Secrets



The Bethsaida Miracle – ato secondo



• Medieval compositional procedures...Some compositional techniques from the Middle Ages are recovered inorder do add some excitement and beauty to the work. Here we

include:• The use of polyphonic notation (see: “Verzweiflung”);

• Imitation and counterpoint (see: “Danse des Fous”),

• Polychrony – several tempos occuring at the same time (see:“Piping Down the Valleys Wild”);

• Dance-like melody (see: “La Doncella y la Melancolía – Dulce DamaDonaira en Dulcidança”);

• Use of retrograde motion (see: “Le Lacrime della Vergine – TristePloratio”);

• Hocquetus-style accompaniment (see: “Le Lacrime della Vergine – Singultus”);

• Gregorian chant style melody (see: “Si la Beauté”)

ten or maybe nine useless songs [polyphonic notation]



ten or maybe nine useless songs... [polyphonic notation]

D d F



Danse des Fous [imitation and counterpoint]



[Polychrony]



La doncella y la melancolía



[Danse-like melody]



Le lacrime della Vergine – triste ploratio [retrograde motion]



Le lacrime della Vergine - singultus [Hocquetus]

Si la beauté



Si la beauté[Gregorian chant]



• Baroque-like ornamentation and style...

• Revival of Baroque ornaments as trills, gruppetos, mordents,doppeltcadences, appoggiaturas, acciaccaturas, glissandi and portamentos

(see: “Ten or Maybe Nine Short Useless Songs of Joy or Strangeness – Stille Leuchtet die Kerze”).

• Also is brought in evidence the spirit of baroque suite, in the overallstructure of a composition, making some allusions to Bach and Haendel

textures employment (see: “My Minuet is Broken”, “Two Baroque Sadness yuna Vals „desvairada‟ para él”).

• From Brazilian Baroque, the composer „steals‟ the dark atmosphere and

deep religiosity of Minas Gerais churches, mainly those built by Francisco Antonio Lisboa (known as “Aleijadinho”). Examples: “Bitter BaroqueBallads- Tears”; “Ave”; “Breve Litania para Nossa Senhora das Mercês”; “Le

Jeu du Roi qui Jamais ne Ment”

[Baroque ornaments]



Ten or maybe nine short useless songs... Stille leuchtet die Kerze[ q ]



ten or maybe nine short useless songs... [Bach/Handel textures]

Two baroque sadness y una vals „desvairada‟ para él - entrée



Two baroque sadness y una vals desvairada para él entrée[Bach/Handel textures]

Bitt b b ll d t [Brazilian baroque]



Bitter baroque ballads - tears [Brazilian baroque]

Ave [B ili b ]



Ave [Brazilian baroque]



Breve litania para Nossa Senhora das Mercês[Brazilian baroque]



Le jeu du roi qui jamais ne ment – 1ª mascarada[Brazilian baroque]



• Tonic pedals...

The use of a constant and steady note in the composition is an allusionto pre-polyphonic organum vocal music of late medieval Europe andother classical traditions as Japanese gagaku or the Byzantine chant(ison).

• In the musical examples, the drone note causes the melody to flow(see: “ Amoris Divini et Humana Antipathia – Sanatio Amoris”),

• or recalls the bagpipe music (see: “O O O Par la Pluie – Oh! AmargoFim!”).

• It can also evoke the power and religiosity of Byzantine chant (see:“Preghiera alla Vergine – Cantus e”),

• or creating an ecstatic/tense movement (see: “Cheiro de Terra

Molhada de Chuva – Ciranda”)

Amoris divini et humana antipathia sanatio amoris



Amoris divini et humana antipathia – sanatio amoris[melody flowing]

[bagpipe music recalling]



O O O par la pluie – oh! Amargo fim![bagpipe music recalling]

Preghiera alla vergine – canto “i” [religiosity]



Cheiro de terra molhada de chuva - ciranda



[ecstatic/tense mouvement]



• Weak or very simple harmonic progressions...

Opposing to the traditional concept of tonal harmony, where strongharmonic progressions are generally the norm, the work of thecomposer prioritizes the use of weak harmonic progressions.

• The option causes the music to sound more neutral (see: “ AmorisDivini et Humana Antipathia – Babylon Amoris”),

• or even ecstatic and intimate (see: “Dolores” and “Cor – Som – Movimento – Palavras Soltas – K”).

Amoris divini et humana antipathia – babylon amoris [more neutral]



Amoris divini et humana antipathia babylon amoris

Amoris divini et humana antipathia babylon amoris



Amoris divini et humana antipathia – babylon amoris[more neutral]



[ecstatic/intimiste]



• Thematic similarities between differentworks; reorchestrations...

Sometimes two different compositional ideas share the same feeling, image, or „fate‟. So,the possible solution for this impasse is both scores to share thematic similarities.Examples:

• “El Caballero de la Triste Figura – Duerme Sancho Panza...” & “La Doncella y laMelancolía – La Vida Debe Seguir”;

• “Two Baroque Sadness y una Vals „desvairada‟ para Él – Entrée” & “BrevissimaMissa Pauperis – Veni Sancte Spiritus”;

• “The Bethsaida Miracle – Ato Secondo” & “Bitter Baroque Ballads – Disillusion”;

• “Las Visiones de Margarida, La Loca – 4th movement” & “Miña Santa Margarida – 1st movement”;

• “A Velha Sarah está Serena e tão Saudosa...” & “Miña Santa Margarida – 3rdmovement”.

• In other occasions, there‟s a need to expand, contract or to give new colors to acertain kind of composition. Thus a work scored for two instruments can bereorchestrated into eleven instruments, the same way a work scored for fiveinstruments can be rearranged for two instruments (see: “Break Away – Regrets” and“Songs of Sadness 4”)

Dresden impressions



[same feeling/image/fate]

L d ll l l lí l id d b if / /f



La doncella y la melancolía – la vida debe seguir [same feeling/image/fate]

Two baroque sadness y una vals „desvairada‟ para el entrée




Two baroque sadness y una vals „desvairada‟ para el - entrée




Brevissima missa pauperis – veni sancte spiritus




The bethsaida miracle – ato secondo

[ g g ]




Bitter baroque ballads

L i i d id l l 4[same feeling/image/fate]



Las visiones de margarida la loca - 4[same feeling/image/fate]

Miña santa margarida - 3[same feeling/image/fate]



g[same feeling/image/fate]




Miña santa margarida - 1

A velha Sarah está serena e tão saudosa[same feeling/image/fate]



A velha Sarah está serena e tão saudosa...

Break away - regrets[a need to expand/contract/new colors]



Break away



A need to expand/new colors]

Songs of sadness - 4 [a need to expand/new colors]



[a need to expand/new colors]



Songs of sadness - 4[ p ]



• Predominance of an unique compositional element...

Some of the works share a preference for one specific compositionalelement.

• In the following examples “O O O Par la Pluie – Dulcidança” and“Song of Sadness II”, the chosen element is the minor chord

OOO par la pluie - dulcidança



Songs of Sadness II



• Homophony...

There‟s a need sometimes, to have all things soundingtogether, under a unique voice, a unique body of sound.

Homophony is only used in vocal or choral works, makingthe understanding of the text/words clear and precise.Examples: “Preghiera alla vergine – canto e”; “Lege michwie ein Siegel”; “an autumn greeting”;

Preghiera alla vergine – canto “e”



Preghiera alla vergine – canto e

Lege mich wie ein siegel



an autumn greeting



g g



• Time signatures in agreement with themusical phrases; metrical assimetries,

scalar melodies, fragments...

• Rather than marking a regular pulse, time signatures are used according tothe musical phrase, functioning the same way the regular language does,

obeying to it own sintax (see: “Le Printemps”).• The time signature also defines the „lenght‟ of the musical phrase (metrical

assymmetry), as seen in “Cánticos de Veneración a la Virgen de las Rosas – Adoración II” and “ Amoris Divini et Humana Antipathia – L‟Amour Humain”.

• Scalar melodies can be seen in “Bitter Baroque Ballads – Disillusion” and in“Le Lacrima della Vergine – Lamentationes”.

• Melodies built from scalar fragments can be seen in “Two Mechanical Birdsand a Melancholic Cage – The Melancholic Cage” and in “Dies Irae desFous – Cantus IV”, and “Ma Fin Est Mon Commencement”)

Le Printemps[according to musical phrasing, obeying it sintax]



Cánticos de Veneración a la Virgen de las Rosas



[lenght of musical phrase/metrical assymetries]

Amoris Divini et Humana Antipathia – L‟amour Humain [lenght of musical phrase]



[lenght of musical phrase]

Bitter Baroque Ballads - Disillusion[scalar melody]



[scalar melody]

Le Lacrime della Vergine [scalar melody]



Le Lacrime della Vergine [ y]

[scalar melody]



Le lacrime della Vergine - Lamentationes

[scalar melody]



Le Lacrime della Vergine - Lamentationes

[scalar melody]



Le Lacrime della Vergine - Lamentationes

Dies Irae des Fous – Cantus IV[melody from scalar fragments]



y g

Dies Irae des Fous – Cantus IV [melody from scalar fragments]



Two Mechanical Birds and a Melancholic Cage – Melancholic Cage

[melody from scalar fragments]



Two Mechanical Birds and a Melancholic Cage Melancholic Cage

Ma Fin Est Mon Commencement[melody from scalar fragments]



[ y g ]

• Contradictory notation – rhythmical



Contradictory notation rhythmicalparadoxisms...

Sometimes the composer uses a contradictory time signature toexpress a special feeling, swing or mood.• In “Solidão”, a clear 2/4 meter is used instead of “right” 3/4 meter, even

though the music itself “claims” for this ternary feeling.

• In “Bitter Baroque Ballads”, the „contratempo‟ (countertime) in the pianopart creates in the cello part the false feeling of „syncopation‟, as the part is

written in thetic mode.• In “Brevissima Missa Pauperis – Pater”, there‟s an non conventional use of

the 9/8 meter, both for the piano and voice, since the basic swing for 9/8(tuplets) is not considered on it.

• In “La Doncella y la Melancolía – Dulce Dama Donnez Moi l‟Adieu”, thepiece is written in 3/4 meter, but is sounding effectively in 6/8 meter.

• In “Visiones de una Vieja Ventana – Mamma”, the rhythm pattern in theelectric bass part, with its regular syncopation and tuplet gives the (false)feeling of moving faster than the other instruments (a false polychrony)

[wrong meter]



[false syncopation]



[inappropiate use]



La Doncella y la Melancolía – 4 – Dulce Dame Donnez Moi l‟Adieu [3/4 instead of 6/8]



Visiones de una Vieja Ventana – 5 Mamma [false polychrony]



• Extended techniques



• Extended techniques...

Some pieces require a few preparations (Piano, Guitar) or a special (or non conventional) way to play the instrument(Piano, Guitar, Harp, Flute, Violoncello, Doublebass). Also,some pieces ask for the player to sing or speaks. Other ask

the singer to play some percussion. Examples shown:“Stray Birds”; “Impossible Grace”; “Tales of the WanderingMoon”; “Danse des Fous”; “Ba‟al Zebhubh”; “Ten or MaybeNine Short Useless Songs of Joy or Strangeness”; “The

Good Dreams of a Poor Horsekeeper ”

Stray Birds (for Piano 6 Hands)



Impossible Grace



(Ten or Maybe Nine Short Useless Songs of Joy or Strangeness)



Some

inspirationalimages

Two Mechanical Birds and a Melancholic Cage



Shui-Sha Lian – The Old Lake‟s Spirit Sleeps and Dreams so Sweetly...



Ma Fin est mon Commencement [print by Leonor Alvim Brazao]



Gocco Music for a Ghost Bird Print [print by Julianna Swaney]



Ten or Maybe Nine Short Useless Songs of Joy and Strangeness



The Good Dreams of a Poor Horse Keeper [for Omnibus Ensemble – Tashkent]Sayyid Shams al-Din al-Hassani, signed: 1210 – Kashan, Iran



Musica Reservata [print by Toulouse-Lautrec „At the Moulin Rouge‟]



Nossa Senhora do Pilar Church – Ouro Preto, MG



Nossa Senhora do Rosário Church



Jonah, the Prophet



Antônio Francisco Lisboa (Aleijadinho b 1730 d 1814)



Antônio Francisco Lisboa (Aleijadinho – b.1730 – d. 1814)

Pavillion – Passion of Christ - Congonhas, MG



Christ in the Mount of Olives



The Last Supper



The Capture of Christ



Crown of Thorns



Flagellation of Christ



Manoel da Costa Ataíde (1762-1830)

Ceiling of Church of St. Francis of Assisi – Ouro Preto, MG



Ceiling of Church of St. Francis of Assisi Ouro Preto, MG

Color – Sound – Movement – Loose Words (Leonor Alvim – Fabric-collage)

new simplicity school antonio celso ribeiro - cópia

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