Ives: The Unanswered Question (Synthesized Orchestral)
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- เผยแพร่เมื่อ 26 ม.ค. 2021
- Using headphones will enhance the listening experience.
Charles Edward Ives (1874 - 1954) was an American modernist composer. His music was largely ignored during his early life, and many of his works went unperformed for many years. The quality of his music was publicly recognized later in his lifetime and he came to be regarded as an "American original." He was among the first composers to engage in a systematic program of experimental music, with musical techniques including polytonality, polyrhythm, tone clusters, and quarter tones. His experimentation foreshadowed many musical innovations that were later more widely adopted during the 20th century.
Ives composed “The Unanswered Question” (subtitled "a Cosmic Landscape" in his work papers), in 1908. It was originally paired with "Central Park in the Dark" as "Two Contemplations." He later revised it in 1930-35, where he included a 13-bar introduction, made the woodwind parts more dissonant, and added further dynamic and articulation indications. He also made a small but significant change to the "question motif," which had originally ended on the note that began it (b-flat), but now remains unresolved (b-natural). As with many of Ives' works, it was largely unknown until much later in his life. Though not performed until 1946, it continues to fascinate and capture the imagination of composers and audiences today.
Ives provided a short text by which to interpret the work, giving it a narrative as in program music. Throughout the piece the strings sustain slow tonal triads that represent "The Silence of the Druids - who Know, See and Hear Nothing." Against this background, the trumpet poses a non-tonal phrase - "The Perennial Question of Existence" - 7 times, to which the woodwinds "answer" only 6 in an increasingly erratic way. Ives wrote that the woodwinds represented "Fighting Answerers" who, after a time, realize a futility and begin to mock "The Question" before finally disappearing, leaving "The Question" to be asked once more before "The Silences" are left to their "Undisturbed Solitude." The piece ends with the strings humming softly in the distance, like the eternal music of the spheres.
Musically speaking, the strings twice repeat a very soft 13-bar progression, so slowly it feels static. Voice leading and passing tones are used in a manner reminiscent of a hymn. After the repetition, the strings’ part varies in subtle ways that are not easily apparent. In contrast to this changing but seemingly regular "Silence," the trumpet repeats the same "Question." It is the woodwinds' atonal “Answers” that change in obvious ways, growing increasingly agitated and dissonant. After they finally give up, the trumpet poses the “Question” quietly one last time, and the “Silences” are heard beyond in “Undisturbed Solitude," prolonging their pure G major triad into eternity.
The work’s metaphorical meaning can be transmitted quite successfully as the piece is a Masterclass in orchestration, specifically in stratification between orchestral layers (strings, trumpet & woodwinds). The groups perform at independent tempos and are placed separately on the stage - ideally with the strings offstage. The stratified linear events pan out within the music taking into consideration basically all musical parameters including timbre, register, dynamics, tonality, harmony, melodic structure, rhythmic profile, etc. to reflect the idea that the question, though coexisting with the answer, bears no relationship with it. Ives makes a deep philosophical statement about this work, claiming “in the immensity of creation, a question speaks louder than the answer.” Ives believed that the human spirit evolved with the ever-growing realm of nature. Music play’s a prominent role in any journey and this brings depth and substance to human life. "The Unanswered Question" reflects this universal "religion" that Ives was himself exploring.
I first heard the piece on Tomita’s “Kosmos” of 1978. His interpretation was space oriented and heavily laden with effects. My take is similarly inspired, though only the “intro” & “outro” set and complete the scene; it’s more about the music and its story. Metaphorically, what if the strings represent the vastness of “the Cosmos,” the trumpet asks “the Question: is anyone out there?” while “the Answerers” represent other beings who receive the signal but can’t interpret it - eventually giving up, mocking “the Question” in frustration. The Universe continues to expand into eternity while the 7th signal is sent out into the “Unknown Silence.”
In terms of my process, 11 layers of strings are used, each panning across the stereo vista. While the upper voicing shimmers to create the vastness of space, the lower strings ground the piece to set the cosmic plane. The trumpet has a subtle digital delay added which helps to nondescriptly echo the question. The 4 flutes are less ethereal and audibly retain their individual presence on the sound stage. - เพลง
absolutely wonderful, so so pleasing to the ears
Thank you very kindly. It's not exactly a "pretty" piece so I appreciate that you were able to experience something special.
Awesome, Carey! Absolutely breathtaking new interpretation of an old favorite. Love it!
Thanks so much Jerry, I didn't realize you were a subscriber. This was a bit of an experimental departure from my normal work so I'm really pleased that you and others enjoyed my interpretation.
Wow! your first video in 2021. Also, your 100th. Neat.
Already have new stuff in the works. :)
@@CareyRMeltz Wow! Thanks. 😊
This is a brand new musical experience for me... Wow! graphics are tremendous too. I can't imagine the hard work and dedication required to produce this. Truly outstanding!
Thank you Pete, for your very kind comment. I appreciate that you comprehend the amount of work involved in bringing something like this to life. People say I'm just using a DAW (digital audio workstation) and not doing much other than pushing a button and letting my laptop do the rest. It's quite a process putting something like this together... yes it's being done digitally and not recorded with me playing the music at half-speed - but - I still have to manually input all the notation into the computer to create a midi file to work with. (This piece necessitated 2 separate projects particularly because the "flutes" required dozens of micro-tempo adjustments to ensure they'd play within their specific tempos overtop of the "strings" and "trumpet" [which in itself was tedious to program]). Then there's the sound development... 5 individual strings parts (1st & 2nd violins, violas, cellos, double bass) for which I created 11 tracks - all to be able to pan and phase within the audio vista. I don't think I've approached a piece so purely before (that is, making my timbres so imitative and somewhat "natural"), it's just the subtleties of some spatial and delay effects that help to create the listening experience. This is what I strive for in these types of projects - I want the listener to EXPERIENCE the music - not just listen to it.
Carey! this is definitely one of YOUR BEST !!! I love the music, and Your interpretation . Also love the detuned radio station effect, (tuning in) at the very end! This is the "ring Modulator" effect I was referring to a couple years ago. It is the perfect garnish for this piece!
Thanks Geo. It's certainly different from what I've presented before. I'd started working on this years ago but developing some fresh voices was all it needed. The work is fairly straight forward but I had to split this into two projects to be able to make all the necessary micro-tempo adjustments for the "flutes." The "trumpet," though at its own tempo, is written into the score proper... just with tied triplets within triplets in each corresponding bar... tedious to program but it all worked. It all mixed down quite effortlessly. I just wanted this music to tell its story. I loved Tomita's version but it was all effects. I did an experimental version with my own generated effects but it felt more appropriate just to set the scene (with my added intro and outro) and leave the music alone. The effects are mostly limited to the stereo interplay of the "strings," used to create the feeling of infinite space.