Comparison of Variations and their Recapitulations in Variation 35

Variation 5, m. 1-2

Variation 35, m. 3-4

140 Variation 5, m. 13-14

Variation 35, m. 5-6

Variation 11, m. 13-14

141 Variation 35, m. 7-8

Variation 11, m. 21-22

Variation 35, m. 9-10

Variation 17, m. 3-4

142 Variation 35, m. 11-12

Variation 17, m. 16-17

143 Variation 35, m. 13-16

144 Variation 23, m. 1-4

The final transition phrase continues the condensing trend of the final phrase in the previous four variations and all five of the variations are represented. What is new in this transition phrase is that the material from the corresponding phrases overlap to some extent, the final beat of the final measure seems to come from Variation seventeen, and there is also a very short transition to the next variation. The following example analyzes where each of the variations are used in this transition phrase.

145 Ex. 59 Variation 35 m.21-24 Analysis

Variation 36

After approximately fifty minutes of music, we finally reach the climactic and cataclysmic final variation. Because it is the sixth and final variation in its set, it is a recapitulation of the previous five variations, Variations 31, 32, 33, 34, and 35 in Set VI.

Because it is in Set VI, it is also a recapitulation of the sixth variation in each set, namely Variations 6, 12, 18, 24, and 30. All of these aforementioned variations are, of course, recapitulation variations themselves, making this final variation a recapitulation of the

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recapitulations. The result is that, contained in this single variation of twenty-seven measures (in fact, the recapitulations occur in only the first twenty measures), is a condensed version of all of the twenty-five “original” variations into one single variation. The entire hour-long work is now, in a way, played in approximately less than a minute, a shrinking in size of approximately fifty times. The result is that the bulk of the original theme is heard twisting and turning through twenty-five different and widely contrasting guises. One moment the theme is clearly

recognizable and the variation procedure is obvious and immediately apparently, but literally a second later the theme may be lost completely, only to return seconds later. It is as if looking at an object through twenty-five extremely different lenses, from extreme zooming to different tints to out-of-focus distortions and supernatural dimension alterations. The amazing effect this has is to make “sense” of the previous aurally confusing variations, where the theme seemed to be absent altogether (even though we have found through analysis that this is not the case and that the theme is always substantially present in the music). When these variations were a minute or so long, they were quite temporally detached from the other variations that were “closer” to the theme. As the temporal distance between these variations decreases, so does their apparently wide musical and stylistic distance. The theme underlying them all has become much clearer and, as a result, the entire composition gains a new clarity and coherence.

This variation is in G minor and the music nears the close of its second trip around the circle-of-fifths in the piece. This is also the same key as the original recording of the tune by Quilapayun. The recapitulation of the twenty-five variations occurs in the first twenty-one measures. The following analysis shows were the material from each variation is used.

147 Ex. 60 Variation 36 Analysis

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Following a fermata on a complete rest is six additional bars that work as a transition to the recap of the theme, which makes this final variation twenty-seven measures in length.

The first two bars of the six-bar transition use slow triads that move melodically by the m2/P5 motive, much like the transition phrase of Variation six. The m2/P5 motive is then used melodically in the third bar in sixteenth notes ending with the beginning of the Bandiera Rossa

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tune. The final three measures use the sixteenth notes rising up a perfect fourth that was introduced in m.33-40 in Variation twenty-five.

In the final measure of this final variation, Rzewski leaves a spot for a cadenza marked

“(optional improvisation; may last anywhere up to 5 minutes or so)”. With Rzewski’s interest in improvisation, it is not surprising to see this opportunity to improvise. Rzewski explains its origins:

“There was no practical reason for that”, explains the composer. “I wrote ‘The People United’ for Ursula [Oppens]. And I asked her if it would be appropriate to include some improvising sections. At that time, she said ‘no, please don’t, because I’ve never done any improvising and I’d rather not deal with it’. So all I did was to leave a space for an improvised cadenza, which was optional; but I didn’t really require any free improvising.⁶⁸

This is the perfect place in the context of the piece to have such an improvisation. The composer himself has shown what he can do to the theme in thirty-six variations lasting around fifty minutes, and now has given the performer an opportunity to make his/her own personal, and perhaps thirty-seventh, variation on the theme. Presently, of the seven recordings of the work commercially available, four of them include an improvisation. It must be pointed out, however, that Rzewski always includes an improvisation in his performances and two recordings (the other recordings that include improvisations by Marc-Andre Hamelin⁶⁹ and Ralph Van Raat⁷⁰).

68 Terry, 21.

69Frederic Rzewski, The People United Will Never Be Defeated! performed by Marc-Andre Hamelin, Hyperion CDA67077, 1999.

70 Frederic Rzewski, The People United Will Never Be Defeated! performed by Ralph van Raat. Naxos 8.559360, 2008.

151 Recap of Theme

As in life, when one goes through a journey and experiences eye-opening possibilities that expand his/her horizons and force him/her to grow, but later return home, the result is a transformation in their being and view of the world. So it is with many musical forms, such as sonata allegro, ternary form, and in a theme and variations where the theme returns at the end.

Naturally, the return of the “Thema” at the end of the work, after thirty-six vastly different variations lasting at least fifty minutes, has changed and may even be considered a thirty-seventh (and perhaps a thirty-eighth if an improvisation is included) variation.

The recap of the theme returns to the original home key of D minor. The thirty-two measures of the theme (the opening chant is not brought back) are played again with several small changes. The bass line of the first ABB phrases is dropped down an octave lower, the weak-beat left-hand chords always have three notes instead of two, the added inner voice in the theme in the second B phrase is constant throughout these phrases, the harmonies in general are fuller, and the dynamic level is piano. As the (ABB)’ section follows, there are only slight changes from the original theme, the most prominent being frequent appoggiaturas on the weak beats in the left hand instead of all chord-tones. The C phrase and the ending chant are nearly the same, with the biggest difference coming in the final measure of the chant on the second half of the first beat. Instead of a repeated G octave in the left hand, it moves to an octave E to create a ii-half-diminished seventh chord.

Instead of ending the whole work now, as may be expected because the equivalent of the whole theme (minus the opening chant) has been played again, Rzewski extends the recap of the theme to twice its original length. In addition, he adds a two-measure tag to finally conclude the entire work. This makes the recap sixty-six measures in length.

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The next thirty-two measures, like the previous thirty-two, correspond to the whole opening theme minus the opening chant; however, this statement is more different than the opening theme. It begins in a higher register for both hands and at a dynamic level of piano.

The harmonies are not filled in as much; at most there are three notes played at a time. The left hand has a continuous line of chord and non-chord tones in triplet eighth notes with no rests which continues (except for a few rests in the first B phrase, but at that point the aural effect is no different because the right hand contains the expected pitches and makes it sound as a continuous melodic line) through the ABB(ABB)’ phrases. Throughout the first ABB section, the right hand alternates between the swung tune in octaves or with added chord-tones and a single continuous line of chord and non-chord tones in triplet eighth notes with no rests, like the left hand, while the tune is only partially present.

It is interesting to note the use of these two textures in the right hand in these three phrases. The first A phrase has two bars of the swung tune and two bars of the continuous triplet-eighths where the tune is obscured. The first B phrase is entirely in the swung tune and the second B phrase has steady triplet eighth notes. This phrase also contains a diatonic sequence where the first three bars are the same but down a step each time.

Ex. 61 Recap of Theme m.41-43, Diatonic Sequence

As we reach the (ABB)’ phrases, the dynamic level is boosted up to forte. The left hand maintains the continuous triplet eighth note motion but spans from the lowest octave of the piano

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up into the middle registers. The right hand has the swung theme melody again but with full chords of three or four notes. Octave displacement, which was such an important feature of several variations, is used in the right hand for different parts of the tune.

As we reach the final B phrase, not only do we now have octave displacement in the left hand, but we also have substantial chromaticism for the first time in the recap of the theme. All of the chromaticism uses triadic chords that are not found in the key of D minor, such as the major triads on Gb, E, and Eb. This usage of triadic chromaticism is most like that used in Variation thirteen, where major triads outside of the key of D minor, such as Eb and Db, are used in a jazz style.

The C phrase now follows, but instead of simply repeating chords, Rzewski uses a technique of adding notes to the chords each time to make them fuller, much like harpsichord composers, such as Scarlatti, did in order to make the effect of a crescendo on the otherwise set-dynamic instrument. This effect is used for the first two measures while the second two revert back to the octave displacement to avoid repeating the repeated chords of the C phrase in the theme.

As the final statement of the chant returns, it does so with the ultimate utilization of octave displacement in both hands. Here the left hand descending bass line is now in eighth notes instead of quarter notes in order to increase intensity through rhythmic diminution as well as to provide more opportunities for octave displacement. One of the reasons Rzewski made all these slight changes in the recap of the theme is to show how the theme as been changed by the journey and has incorporated some of the different experiences and aspects it has been through.

These changes have become an integral part of the theme on its outside, where before these were just possibilities latent within itself.

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In order to create ultimate finality at the end of such a massive work, Rzewski adds a two-measure tag on the end. After the large fortissimo final statement of the chant, he drops down to a piano statement of the last measure of the chant in the low register. This drop in intensity sets the listener up for the final triple-forte, staccato, and accented statement of this last measure of the chant which finally concludes this incredible work.

Conclusion

The title of the theme, The People United Will Never Be Defeated!, and the meaning of its lyrics illustrate and emphasize the strength and power of unification. When people come together and are motivated to work for a common cause, there is no obstacle that cannot be overcome. The tune is a testament to the determination of humans, not as individuals, but to the amazing things that can be achieved through a community. The most amazing aspect about Rzewski’s piece of music is how it demonstrates this principle, of strengthening by unification, in a musical context. Rzewski even suggests himself, “The extended length of the composition may be an allusion to the idea that the unification of people is a long story, and that nothing worth winning is acquired without effort.”⁷¹ The following chart summarizes the relationships between the variations, the key scheme, and variations lengths.

71 Rzewski, CD liner notes to Rzewski plays Rzewski.

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Chart 7 Recapitulation Relationships, Key Scheme, and Variation Lengths

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Many programmatic musical works, which are inspired or supposed to depict something outside of the music, attempt to justify, successfully or not, their musical form by what they are depicting. Many of these works cannot exist successfully without this extra-musical justification and the listener would be lost without knowledge of the program, but Rzewski’s piece is

different. While its meaning can be greatly enhanced and appreciated on many different levels by understanding the theme, its lyrics, the historical context surrounding the composition of the theme, Rzewski’s background and why and when he wrote the piece, etc., The People United can be greatly appreciated and works incredibly successfully when looked at from a purely musical standpoint and demonstrates the idea of unification on a musical level. This is one of Rzewski’s own goals as a composer, as he explains:

I feel a bit uncomfortable being put in this, or any kind of box. I don’t like feeling obliged to make a political statement with every piece of music. First and foremost as music; and then if one can enrich this musical discourse with extra musical ideas, then so much the better.⁷²

No matter from what angle this work is seen, its purpose is to show that neither angle, neither compositional style, neither culture, neither race, etc., is correct or incorrect, but that they are all connected in a deep and profound way and capable of creating beautiful and great things while increasing the understanding amongst all. When any of these contrasting elements, aspects, people, cultures, etc., come closer together, their similarities transcend their differences and enhance and strengthen each other. Only when this is realized can we truly make a

difference in creating a better world for all. If other people can see this, then perhaps Rzewski’s music can indeed help to enact social change, and maybe it has had more of an effect people than

72Richard Steinitz, “Imperialist Piano-Thumping Was One Avant-Gardiste Description of Frederic Rzewski This Week Because of His New Accessible Style.” Guardian. November 2, 1979, quoted in Keyes, 75.

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I even know. We can only hope that it will continue to inspire people, both musically and socially, for generations to come. Perhaps Art Lange sums up the effect and meaning of the work the best:

But for all its twists and turns, its bursts of violence and chilling absence, its foreboding and tender hopefulness, it ends in triumph, as the theme returns, in full glory, to offer a faith in human values, human feelings, and human rights.⁷³

73 Lange, liner notes to Hat ART CD 6066.

158 Appendix A Second Structure⁷⁴ For Petr Kotik and Other Friends

A structure in six parts, or cycles, each of which is built in real time (improvised) using a freely articulated sequence of six stages.

The character of each cycle generally, and of each stage within a cycle in particular, is determined by the performer(s) in accordance with the following basic image:

Six dimensions of time

The performer moves through this cycle six times, in such a way that in the first cycle

characteristics associated with the image “Present” predominate, in the second those associated with “Recent,” and so on, so that in each cycle the six stages are interpreted in a different way, and macro- and microstructures are reflected in each other. The whole has the form of a 6 x 6 grid which is retained as a conceptual framework in the mind of the performer. Above and beyond the minimum necessary determinations for a given performance, such as the approximate duration (optimally twenty to thirty minutes) and the choice of instruments or circuitry to be employed, as little as possible is to be fixed beforehand; the music should ideally arise in real time from the spontaneous application of the grid in the mind to the unstructured raw material of improvisation. The grid thus has both a generative function, providing the performer with a map of his/her psychic terrain and a designated path with a beginning and an end, which may assist the free exercise of fantasy; and an inhibitive function, acting as a sort of filter and suppressing the tendency to remain in one place or to wander aimlessly.

Stage 1 Qualities associated with “present” time:

Separateness (no apparent relation between one event and the next); fragmentariness (partial expression of an idea or mere allusion to it, rather than complete statement of it);

uniqueness (non-repeatability and non-imitability); transitoriness (brevity, speed); ubiquity (the ability to be in many places at once: thought travelling faster than light); superficiality (wit, dancing on and off the surface of things).

74Frederic Rzewski, Nonsequiturs: Writings & Lectures on Improvisation, Composition, and Interpretation, edited by Gisela Gronemeyer and Reinhard Oehlschlagel. (Cologne: MusikTexte, 2007), 144-52.

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Guiltlessness: Approach the material in a state of innocence. Refrain from judging yourself.

Extend yourself in many different directions at once. Keep moving from one

geographical area to another. Concretely: Dance around in space, move from one end of the instrument to another, make some radical change in some parameter with every sound (This does not mean: play fast.)

Explore space in an infantile, abandoned, random fashion. Play in such a way that each event is a separate entity. Fracture the material; if an idea comes into your head express only part of it. Repeat nothing, and do not linger on any one event or develop it in any way. Make every sound different from the one preceding; leap from one idea to another, always landing on new places. Some of these you may return to in the future; but don’t bother with that here.

Don’t try to remember anything; but consider that everything you perceive is registered somewhere in your mind and may be recalled.

Generally, between any two events let there be no demonstrable relation. Act as if this were the case, even if you do not believe it.

Let there be a long space between the end of one sound and the beginning of the next.

Stage 2 Qualities associated with “recent” time:

Recognizability (meaningful relation between an event and the immediately preceding one); repeatability (doubling); introspectiveness (memory); freshness (observation of prominent features); likeness (resemblance); discovery (location of a thing with respect to another thing).

Repeat something you have just done, without having intended to repeat it.

Begin to retrace your steps, at first unintentionally, then deliberately. Do not stop exploring, do not expand on the material at all, but return to it. Thus Stage 1 continues as you begin to introduce Stage 2: In the spontaneously generated material of Stage 1, produced without

Begin to retrace your steps, at first unintentionally, then deliberately. Do not stop exploring, do not expand on the material at all, but return to it. Thus Stage 1 continues as you begin to introduce Stage 2: In the spontaneously generated material of Stage 1, produced without