Thomas Clark – composer / digital artist

Tag: Second Viennese School

  • Animated Landscapes

    A Musical Sketchbook

    A collection of eight new scores for chamber orchestra with the same orchestration (4 winds, 3 brass, timpani, percussion, and strings), the musical sketches are Impressionistic soundscapes rather than symphonic narratives in form. The Sketchbook also includes extensive performance, analytic and program notes.

    Read the entire ANIMATED LANDSCAPES Sketchbook

    Each sketch paints vivid harmonic and instrumental colors in simple to complex textures of dynamically evolving tempo and pace. Titles are evocative but not determinant for the development of the musical ideas. My original 1971 orchestral composition titled ANIMATED LANDSCAPES first explored this musical approach in what was then the prevailing Midwestern composers’ large-ensemble moving-sound-mass style of the 1960s and ’70s. My harmonic and contrapuntal craft has matured enormously since then!

    Appearing first in this 50-years-later Animated Landscapes Sketchbook for small orchestra, Appalachian Autumn pays homage to Copland’s 1944 masterpiece, Appalachian Spring. In my composition studies in the 1970s, I was fascinated by Appalachian Spring the ballet as originally scored for only 12 orchestral instruments. This original scoring was a masterpiece of orchestral painting blended with the clear contrapuntal lines of chamber music, highlighting each instrument’s colorful voice. My now developed harmonic sensibilities also resemble Copland’s open, bold sonorities.

    Appalachian Autumn
    Amber Atoms in the Fire Gleaming; Yin Yang (Air); Otter Creek (Water)
    Black Canyon (Earth); Glacier Gorge; Palo Duro (sunset) [Canyon Sketches]
    Looking for the Rainbow
    Massif; Storm; Highland dusk [Highland Sketches]
    Viennese Sketches
    Blue Ridge; Jupiter Rising [Sinfonia]
    Hrad (morning climb to the castle ruins); Ptáci (watching Leoš’s birds); Vody (forest streams and shadows); Bystroušky (mouflons and other mountain wildlife); Podzim (autumn sunset) [Hukvaldy Sketches]
    Separate listening to all 8 pieces found here . . .

    Free score and parts available from the composer: tc24@txstate.edu

  • Viennese Sketches

    Twelve Miniatures in Twelve Tones

    2023 . . . chamb. orch: Fl, Ob, Clar, Bsn, Hn, Trp, Tbn, Timp, Vibraphone, Strings

    12 minutes

    I have long admired and been influenced by the music of early 20th-century Austrian composer Anton Webern. Known historically as a member of the Second Viennese School with Alban Berg and mentor Arnold Schoenberg, the three were pioneers of so-called atonal music and 12-tone-row serial harmonic organization. I find the term “atonal” misleading and negative, as their 12-tone processes achieved new “12-tone tonalities” — not simply a rejection of traditional tonal harmony but also striving to create new and more complex tonalities.

    What I admire about Webern’s mostly-quiet instrumental miniatures (his Symphonie Op. 21 has only two sparsely-scored movements) is the delicate, crystalline quality of his pitch constellations; and their gently lyric, precious setting into transparent textures, pearl-strings of delicate sound colors (called Klangfarbenmelodie).

    Webern’s mentor, Schoenberg, as a Jew was compelled to emigrate to the U.S. in 1933 before it was too late. Webern, not Jewish, stayed in Vienna and survived World War II, only to be fatally shot by a U.S. Army soldier during the Allied occupation of Austria.

    Miniatures I through IV are adapted from Webern Elegy and V through XII from MapLab7 – For Little Arnold. Viennese Sketches does not portray the historical European city but rather explores various musical textures and tonalities using the 12-tone serial techniques of the so-called Second Viennese School of composers associated with Schoenberg. While their music using these techniques was unfortunately dubbed “atonality,” my uses focus on creating constellations and counterpoint that is complex but much less dissonant and more sonorous, my sense of a new tonality.

    While the chamber orchestra work is organized in six movements and a coda, each miniature is excerpted below to show changing pace and textures.

  • Webern Elegy

    Vienna, 15 September 1945 – five miniatures

    2021 . . . . for the Pleasant Street Players — Ian Davidson (oboe), Vanguel Tangarov (clarinet), Ames Asbell (viola) . . . . duration: 5 minutes

    Clarinet shows transposed (not concert) pitches

    I have long admired and been influenced by the music of early 20th-century Austrian composer Anton Webern. Known historically as a member of the Second Viennese School with Alban Berg and mentor Arnold Schoenberg, the three were pioneers of so-called atonal music and 12-tone-row serial harmonic organization. I find the term “atonal” misleading and negative, as their 12-tone processes achieved a new “12-tone tonality” — not simply a rejection of traditional tonal harmony but also striving to create new and more complex tonalities.

    What I admire most about Webern’s mostly-quiet instrumental miniatures (even his Symphonie has only two sparsely-scored movements) is the delicate, crystalline quality of his pitch constellations; and their gently lyric, precious setting into transparent textures, pearl-strings of delicate sound colors ( called Klangfarbenmelodie).

    Webern’s mentor, Schoenberg, as a Jew was compelled to emigrate to the U.S. in 1933 before it was too late. Webern, not Jewish, stayed in Vienna and survived World War II, only to be fatally shot by a U.S. Army soldier during the Allied occupation of Austria.

    Synthetic rendering of sample excerpt from movement II:

    Synthetic rendering of sample excerpt from movement V: