"Deon Nielsen Price:
Angel Trio,
Musical Confession on Seven Tones,"
by Sanya Shoilevska
as published in the
ILWC Journal, October 1994.
Cantate Domino canticum novum qui mirabilia fecit...
(Psalm 97)
The "birth" of a new composition for each composer is of twofold significance:
first, exploring the secret parts of the mind and its internal world
of imagination, and second, revealing the intimate part of the composer's
personality to the audience. Being the communicative link between the
composer and the different levels of individual and collective reception,
every new composition deserves full respect and willingness to accept
the composer's ideas, mental states, feelings, messages and knowledge.
The well-known California composer and pianist, Dr. Deon Nielsen Price,
reveals herself, her nature, her internal imaginative life and insight
into her art through her music. Highly educated, intellectual, provocative,
she follows a powerful musical intuition, and searches for compositional
satisfaction in the genre of mostly chamber and vocal music. In observing
the ensembles and instruments for which she has written, as well as
the titles of her compositions, we may follow her inclination toward
chamber music for small ensembles,2 and above all, a profound tendency
towards intimate vocal lyrics as the initial clue for understanding
her colorful ideas.
Therefore, her new work Angel Trio for violin, cello and piano occurs
as the logical continuation of previous compositions. It is conceived
as part of a larger music project called Angelology which includes such
works as Angel Quintet for flute, oboe, clarinet, horn and bassoon and
Angel Serenade for chamber orchestra. Angel Trio was commissioned by
the Los Angeles Alumni Chapter of Mu Phi Epsilon (the international
professional music fraternity) and dedicated to its members. The celebration
of the organization's 75th Anniversary on March 12, 1994, which took
place at the California Yacht Club in Marina del Rey, presented an excellent
opportunity for the premiere performance of this trio. Despite a less-than-optimal
concert space, the quiet and pleasant surroundings provided a suitable
aura for its performance. Within the salon's intimate atmosphere, every
movement added to the work's spirit and held the large audience attentive.
The members of the Trio, violinist Mary Lou Newmark, cellist Marilyn
Harris and pianist Deon Nielsen Price, presented a very professional
performance, and despite the lack of proper concert space arrangement,
produced a balanced delivery. One still wishes a repeat performance
in a recital hall for a better hearing of the profound and subtle musical
ideas.
Angel Trio is a composition that may be analyzed from various aspects,
the most important of which is its compositional technique. However,
according to Dr. Price, the general idea to which the title of the work
refers "is an appeal to several famous angels identified in various
religions of the world, in behalf of the inhabitants of the City of
the Angels (el Pueblo de Los Angeles)" and it is dedicated to the members
of Mu Phi Epsilon, who are "angels" of music. Then again, the same title
gives one an opportunity to speculate about another possible idea of
the composer, one of more spiritual significance, i.e. music as a device
of unification and understanding among people, and more profoundly,
communication between cosmic powers and the human soul, as in a similar
way, the angels were the beings intermediate between God and the human
race. Significantly, the basis of the composition is a generous idea
which is presented in four movements and three interludes as follows:
Astarte, Queen
of Heaven:
Lend us your Womanly Attributes
Cherubic messenger #1
Raphael, Divine Physician: Heal us with your Warmth
Cherubic messenger #2
Gabriel, Keeper of Spiritual Wisdom: Make us Wise
Cherubic messenger #3
Moroni, Ancient Prophet of the New World:
Trumpet the Good News from the Pinnacle of the Temple
As a composition,
the trio is very clearly defined. It is based on the specific vector
number 0236711 (i.e. C D Eb F# G Ab B) as explained in M. Lloyd Tew's
Tables of Pitch Combinations and Corresponding Interval Contents,
1968. This harmonic vector number basically dominates the entire trio.
Numerical organization of musical material is not a new idea; however,
the results obtained in this piece certainly are. Practically applied,
the abovementioned harmonic vector number appears as a linear scale
which is the same as harmonic minor with a raised 4th degree. It plays,
essentially, the role of a tone row or freely used tonal series which
executes the harmonic and melodic parameters of the compositional
structure. The melodic aspect of the work becomes thematic and also
serves to form the harmonic and contrapuntal development (See Ex.
1).
The model for this linear scale has offered Dr. Price numerous compositional
possibilities, and she uses them astutely. Arnold Schoenberg has claimed
that the "tone is the material of music," and therefore has to be
artistically respected with all its qualities and effects.3 His statement
is very applicable in the case of this composition's seven chosen
tones. It is the key to understanding the Angel Trio.
Without abandoning the framework of the chosen seven tone order, Dr.
Price has not only created a balance between harmonic and melodic
elements, but has also obtained the formal unity of the entire cycle.
The common tone row entity has created the impression of using monothematic
principles thorough the entire composition.
The first movement of the trio titled Astarte represents the Semitic
goddess of sexual activity, fertility, maternity, love and war.4 The
movement symbolizes the birth and growth of something new and has
a distinctive female character. As an unceasing perpetuum mobile with
continuous movement of quintuplets, it introduces the general mysterious
spiritual atmosphere of this work. The essential seventone order presented
as harmonic C minor with raised 4th degree (see Ex. 1) lends itself
to various creative possibilities. From a melodic point of view, the
most effective intervals are the augmented 2nd (Eb up to F#, Ab up
to B), diminished 3rd (F# up to Ab), augmented 4th (C up to F#) and
augmented 5th (Eb up to B). Harmonically speaking, the prevalent structures
are quartal and quintal, and appear in the following ways:
- chords which
arise from the separate linear movement of the three instrumental
parts;
- simultaneous
intervals of 4ths, which in the interrelationship between instrumental
parts create chord structures;
- triads in large
extension, usually composed of perfect and augmented 5ths.
The first movement
is presented as a freely constructed ternary form. The A section contains
three main elements:
- quintuplet
figures moving throughout the entire section;
- linear pizzicato
lines in the string parts, mostly consisting of intervals of a 5th
in combination with a diminished 3rd;
- contrasting
espressivo cantabile in an alternating movement of minor and major
intervals. In a few bars all the elements appear together (see Ex
2).
The B section is
very melodic in character and intensifies the rhythmic movement of eighth
notes as a contrast to the quintuplets of the first section. The reprise
is shorter, and only reminds us of the atmosphere at the beginning of
the movement
The second movement, Raphael, is different in character. As one of the
seven archangels in the Judeo-Christian belief, Raphael, whose name
in Hebrew means "God hath healed," was said to have healed this earth
when it was defiled by the sins of the fallen angels.5 Alluding to this,
the movement is much more decisive, energetic and determined in its
rhythmic parameter. Filled with definite contrasts and mutation of its
other musical parameters, the movement also contains some extended instrumental
techniques such as sul ponticello in the violin, approximate pitches
in the cello part and plucking and strumming of strings inside the piano
(Ex. 3).
Ternary form is the general framework of the movement. Predominant elements
of the first A section are brisk, expressive upward passages in a combination
with sharp, rhythmic triads. A transitive, romantically meditative cantabile
between the A and B sections has been written with "Brahmsian" inspiration.
The B section is moderately aleatoric and contemplative. Contrast is
attained by changing the tone row on C to the tone row on F#, giving
the string ensemble an ancient archaic aura while the piano is treated
in harp (or perhaps Greek lyre) fashion. The violin plays muted flageolet
tones in a quartal run of eighth notes with the animated string pizzicatii
similar to the sound of a kithara6 giving further substance to the allusion
of antiquity.
Gabriel is the title of the third movement which is a sublime lyric
confession. This is an appropriate mood, for the role of Gabriel in
the Bible was a messenger of Divine comfort, wisdom and acquiescence.
The movement, therefore, aptly has the form of chorale variations. The
theme has the vocal qualities of a calm hymn-tune. It is subsequently
exposed in each part of the ensemble, and then, throughout the four
variations where it is developed in the style of the vocal chorale tradition.
The moderate use of polyphony implies the presence of counterpoint,
including the techniques of imitation, inversion and sometimes canonic
relationship between instrumental parts. Nevertheless, the homophonic
basis of the chorale accompaniment is seldom abandoned.
Looking over previous titles in the work of Deon Price, it is evident
that the chorale has been a frequent inspiration for her compositions,
suggesting that the chorale style well represents her lyric talent and
expresses it in a most appropriate way.
The final movement Moroni, the name of Mormon's son, indicates the powerful
ending of the cycle according to the prophet who announces the Time
of Change and a New World. The "trumpet" motif, as an anticipation of
the News, is symbolically represented by the upward quartal motive in
a dotted rhythmic pulse (Ex. 5).
The marchlike style is very appropriate as a final movement of the cycle.
Full of energy, it indicates the belief in an indispensable existence
of the cycle of Change. However, there is no Faith without Doubt. The
contrasting mystical middle section of this ternary form is based on
muted flageolet-notes in the violin and cello, organized in an alternate
movement of triplets. The main interval used for the entire movement
is that of a 4th, both as a melodic and as a harmonic element. Based
on the same tonerow principle in E, this march gradually progresses
into a dramatic and dynamic final culmination.
Very interesting is the role of the interludes. They appear as solo
parts in the style of a cadenza and also announce the character of the
movement which is to follow.
Cherubic Messenger #1 for solo cello and Cherubic Messenger #3 for solo
violin are both composed in a very similar manner, that of a scherzo.
Actually, the third interlude appears as a variant of the first one,
and uses the principles of retrograde inversion. Unlike the main movements
which have quartal and quintal harmonies, the interludes are based on
tertial harmonies, and, generally, follow the roots of the major triads.
This gives them a tonal flavor. The staccato articulation, including
the grace notes, gives these interludes an originality that implies
humor and a "devilish" playful challenge (Ex 6).
Cherubic Messenger #2 for solo piano is a subtle lyrical interlude with
an improvisatorial character. It announces the lyrical culmination of
the cycle, the Chorale Variations. As in the previous two interludes,
this one is also based on a major triad and gives one an impression
of tonality.
* * *
Arnold Schoenberg has said, "There exists no definition of the concepts
of melody and melodic which is better than pseudoaesthetics. Consequently,
the composition of melodies depends only on inspiration, logic, sense
of form and musical culture." 7 In the instance of Dr. Price's work,
the sense of form and the character of the melody is the primary source
of musical expression. Thanks to the tone nucleus of the composition
(harmonic minor with raised 4th degree), the work is united from two
aspects: the melodic, all the melodies emerging one from another as
in a causalconsecutive process; and the harmonic, harmonic structures
usually being based on quartal or quintal relationships, as a logical
consequence of the intervallic relationships within the tonerow.
In this work, it is hardly possible to consider the formal structure
and construction in a classical manner. The composition does not possess
the contrasting periodical thematic and harmonic relationships found
in the classic style. Nevertheless, we can try to find common features
in the character of the movements, comparing Angel Trio with the sonata
cycle. The first movement marked as Allegretto grazioso, with its character
of perpetuum mobile is appropriate as an opening movement; the second
(Agitato) reminds one of a scherzo; the third movement (Espressivo)
plays the role of a slow lyrical movement; the final Allegro is an energetic
march. The short ingenious interludes link all the movements of the
cycle in a creative whole
It is really a great skill to know how to organize the dramaturgy of
a composition despite the permanent use of an unchangeable musical code
of seven tones. That is the skill of an experienced composer and above
all, the art of a real musician. Dr. Deon Price knows how to adjust
the instrumental colors in a chamber ensemble, how to achieve the melodic
authenticity and how to use innumerable rhythmic possibilities and combinations.
In Price's Angel Trio the intellectual dimension and knowledge of composition
are in a remarkable way connected with infallible tuition and romantic
strength of expression. It is a creative product of the musician-artist,
who feels the needs and knows the right direction in the development
of the musical idea.
NOTES
1. Sing to the Lord a new song, because he has done wonderful things...
2. In the field of instrumental music, Dr. Price has written solo, duos, trios, quartets,
quintets, and music for string or mixed chamber orchestras.
3. See also Arnold Schoenberg Harmonilehre (Vienna: Universal Edition, 1922), 2.
4. See also Encyclopedia Americana: International Edition, Vol. 1 (Danbury: Grolier
Incorporated, 1987), 546.
5. See also Oxford Dictionary of the Christian Church, ed. by F. L. Cross (New
York: Oxford University Press, 1983), 1158.
6. Ancient Greek plucked string instrument of the lyre type.
7. Arnold Schoenberg, Structural Functions of Harmony (New York-London: W.W.
Norton &a,p; Company, 1969), 194.
Sanya Shoilevska
was born on June 26, 1964 in Skopje, Macedonia in Southeast Europe.
A musicologist and award-winning pianist, she has a joint Bachelor
of Arts degree in Musicology and Piano, and a Master of Arts in Musicology
from the Faculty for Music in Skopje (1991). Soloist and chamber musician,
she also studied piano at the Ecole Normal de Musique "Alfred Cortot"
in Paris, and in Groznjan, Slovenia, and Nice, France. The author
of a Catalog of Macedonia Music Artists, she has been employed since
1989 at the Academy of Arts in Novi Sad, Yugoslavia as a research
assistant in musicology. At present she is in Los Angeles as a visiting
scholar and a doctoral candidate doing research for her dissertation
under the mentorship of Professor Emerita Dr. Beverly Grigsby from
California State University, Northridge. Contact address:Sanya Shoilevska,
1745 N. Wilcox Ave, Apt 227, Los Angeles CA 90028. Tel (213) 469-9638.
