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SC E
IRd?-M
THE MUSICAL
QUARTERLY
THE POETICS OF MUSICAL SILENCE
By THOMAS CLIFTON
163
1. Temporal Silences
1 MartinHeidegger,
Beingand Time,trans.JohnMacquarrieand EdwardRobin-
son (NewYork,1962),p. 208.
2 GeorgesGusdorf,Speaking,trans.Paul T. Brockelman(Evanston,Ill., 1965),
p. 90.
Basses
- pizz.
,?:-4-
This example is instructive in that it provides a temporal experi-
ence in a negative way: the strong pulse is made conspicuous by
its absence, and we, as participants,have been abruptly thrown out
of the temporal life of the movement and back into ourselves. In-
stead of riding along with the movement, the percussive stroke and
ensuing silence create a momentary shift in awareness by briefly
turning from the time of the movement to our bodily time, since
it is in the nature of surprise to suddenly strengthenself-conscious-
ness. It is for this reason that we can distinguish absence from
nothingness, and can justifiably assert that in this silence the ab-
sence of any pulse actually provides a momentary opportunity to
grasp the rhythmof the movement from another perspective. (An
analogue might be the differentsorts of awareness one has of a river
in which one is at firstswimming, but then is magically ejected
from it onto the bank. The movement itself has not stopped, but
our experience of it has been interrupted.) It is helpful also to con-
sider whether the silence adheres primarily to the event just passed
or to the next (future) event. This can be most adequately de-
termined by considering whether one's experience of silence is
primarily that of surprise or anticipation. Here, the element of
surprise tends to attach the silence to the percussive blow; the re-
sulting silence is a bit too unfocused and unsettled actually to con-
stitutea pregnant,anticipatorysilence.
On the other hand, the silences appearing just before the closing
measures of Berlioz's "Queen Mab" Scherzo clearly adhere to in-
coming events:
Ex. 2 Berlioz,Romeo et Juliette,"Queen Mab" Scherzo
ant. cyrn. Presto
_
1 Harp 67
JI WN A
A
lot
PPP arco
There is some evidence why this should be so. While not absolutely
predictable, this moment is also not entirely unknowable. The
events leading up to it have helped considerably in forming and
trimming the nature of our anticipation. For example, the "stop
and start" quality of motion is presentedat the verybeginning of the
scherzo; the texture of "little atomies" and "wings of grasshoppers"
teeters on the edge of silence;3 finally,the combined effectof the
ritardando (at rehearsal no. 66) and the temporary withdrawal of
meter is one which prepares the auditor to anticipate something.The
consequent silences are then not encountered with surprise, since
they are heard as continuing, not interrupting,our projections; that
something, then, is the activityof drawing out the gossamer web of
an already established anticipation to a finer, more delicate line.
(At this point, it is important to note the distinction between an
activity of consciousness motivated by a silence and an activity as
part of the silence itself.)
Naturally, undifferentiatedsilences themselvescome in different
varieties. The boundaries of these silences, for example, need not
always be hard-edged. It is quite possible to experience a kind of
"sfumato" effectby a careful and deliberate smudging of the bound-
aries. Such is the case with the silent measure embedded in the well-
known opening to Debussy's Prelude to "The Afternoon of a Faun."
Once again it is primarily the minimalization of meter and rhythm
which accounts for the smoothness of this silence. With this piece,
however, the effectis that of arrestinga breath rather than a pulse.
The experience of rhythmin these opening measures is essentially
4 Claude Levi-Strauss,
The Raw and the Cooked, trans.Johnand DoreenWeight-
man (NewYork,1969),p. 16.
5 Leo Smit, in "Stravinsky:A Composer's Memorial," Perspectivesof New Music,
IX/2 (1971),90.
tt
8-----
Ig
do -i -
1-v? >
In fact, the music does not touch ground for a while. The two
silently pulsating measures collaborate with the harmonic implica-
tions to make the phrase between these measures sound like an in-
sert or parenthesis. A good idea of the way in which silence be-
comes both necessaryand significantcan be gotten by rewritingthe
piece, omitting both the silences and inserted phrase, and main-
taining the previouslyestablished register.
A ridged silence can also adhere distinctlyto the incoming edge
of a musical passage. Charles Rosen points out a good example of
this phenomenon in Haydn's String Quartet in E-flat, Opus 33,
No. 2. The reason for this particular kind of attached silence lies
in the handling of dynamic contrasts: "[The] brilliance of Haydn's
dynamic conception comes from the fact that each successive stage
is an echo of a beat and not a beat itself,so that the weight of the
beat is feltin the silence and reflectedin the sound."6
Ex. 4 Haydn,StringQuartetin E-flat,Opus 33, No. 2, thirdmvt.
I I Ff
pp p f S Sf Sf f
ff I
j f
fIIIT TI
8f, pp1 p
A_- _- A
IL
I F 1
0, 71- op
.7
Presto
I'- r G.P"
.
160
G.P. I I G.P.
I.
opslo -
3,70
The silence before the adagio passage leaves time for the beat to
flattenout, so that as we pass from measure 148 to 150 to 152 the
silences become progressivelymore undifferentiatedand homoge-
neous. But with the return of the presto tempo, surprise and
anticipation combine with a growing exasperation with, and eventu-
ally a humorous acceptance of, the quartet's seeming inability to
L.F
IAr
14 poco cre seen
-n
.
g- , - me, . . .. -me,
Ce 1 par-fum estmon- Et
- '-,ger j'aIr
cm sen
i.poco
do c ralll
, f, ,, I
,
OCO, ,..
do nf cso. trasc.
SA I I I I
" "! -[ 1[Ii ,
B. Emphasizing long-spanconnections.
This heading is familiar to those who already understand the
notion of "obligatory register." But it is interesting to note that
what makes this notion structurallyand aurally relevant is that cer-
tain registersare not occupied all the time. If they were, we should
have no clear guide for interpreting tones which are structurally
important and those which are not. We must, therefore,consider
the formative role that silence plays in isolating and defining a
structural register. This role is differentfrom the first function,
described above, in two ways. An importantdegree differenceexists
between the way in which sound and silence both contribute to the
shape of purely local events, and the way in which they contribute
to the connection of nonconsecutive events. The temporal expan-
sion involved in the latter makes greater demands on our ability
to experience prolongation and preparation. The second difference
- a difference in kind
--exists between the primarily affective
function described above and the more structuralfunctiondescribed
in this section. To put it more simply,section A presented examples
of the way silence is used to express "how" the music is speaking,
while in this section, the adherence of silence to the grammar of the
musical statementis being examined.
The notion of obligatory register has, of course, already been
discussed in the writings of Heinrich Schenker, Oswald Jonas, and
Ernst Oster. To their comments I shall add two things: a sugges-
tion to listen to the handling of registralsilence in the many works
cited by Oster in his article on the large-scale connection,' and an
example of registral silence from an orchestral work, the introduc-
tion to Beethoven's Seventh Symphony.
Ex. 8a. Beethoven,SeventhSymphony,Introduction
mm. .1 _ 15 21 40 43 53-62
crcw.
9Cf. Hans Redlich's discussion of the last movement of the Lyric Suite in his
Alban Berg: Versucheiner Wiirdigung (Vienna, 1957),p. 201.
again and bring it [back] into being.) The single point that I wish
to inferfromall this is that the use of silence can be an efficientand
effectiveway of removing the possibility of constructing relation-
ships. Just as mankind is a networkof relationships, the composition
is to the extent that it is capable of presenting a complex of musical
and transcendentalrelations; and when silence intervenesto remove
those relations completely,the piece itselfpasses over into nonbeing.
It then has to be reawakened, or relived, in memory or in another
performance.
At this point, I would not want to convey the impression that the
two compositions cited here uniquely present the notion of silence
as absence, or that this kind of silence must occur only with endings
of a special nature. It is not difficultto findexamples in the literature
of the special effectthat a gapped silence has on the flowof melody.
Indeed, Joseph Kerman specifically describes the subject to Beet-
hoven's Grosse Fuge as gapped.12 Beethoven himself describes the
melody of the middle section of the Cavatina of his Opus 130 as
"beklemmt" ("oppressed"). To understand the constitutiverole that
silence plays in conveying the quality of "oppressed," tryplaying this
passage legato, substitutingsounding durations for the rests:
Ex. 9 Beethoven,StringQuartetOpus 130, "Cavatina"
Beklemmt
406
IIo pr P
_~jw ,I
AR
"
semprePP
%--
V mr100 I.- -. . . 1 06 l
. . . II I I I I !
z-
__ I I III I I J
', ', L.. . .. , .. .
1. 1r
6l
Still another example of gapped silences in the interiorof a work
can be observed in the second variation of the slow movement to
Beethoven's Opus 135. As with all these examples, the experience of
a melodic line threadingits way along the edge of nonbeing includes
another, opposing tendency,namely, the resistance of the melody to
actually stepping over the edge and disappearing. The resulting
interplay between sound and silence is not so much an agreeable
12 Joseph Kerman, The Beethoven
Quartets (New York, 1967),p. 277.
3. Silences in Motion
J -
Agop.. i i
-:
41Vl
- w
I.
In a rhythmicpatternlike K;
the change in direction involves
a characteristicrebound offthe firstbeat and a landing on the third
beat.
An even more interestingpossibilityis a gesture which moves in
the spatial dimension of depth rather than the dimension of ver-
ticality. Referringonce again to Mahler, that master of gesture, we
find in the firstmovement of the Third Symphony (at 42 in the
score) a two-notegesture which at firstrecedes, then comes forward,
and finallyrecedes again. It is important to understand that these
brusque announcements are not just being presented with changing
dynamic levels, but that these changing dynamics create a curving
motion, away from,toward, and again away from the listener (who
is, of course, the zero point of all possible coordinates of lived space).
And it is this motion in which, in my listening, the intervening
silences participate.
ThirdSymphony,
Ex. 11 Mahler, first
mvt.,(at 42)
Str.
.
O1.
1901
w- OP 10
V?., Cb. Trb., Tuba
PPI~
s,. -v if II"low i -
M?,,.
I close with a similar example of moving silence, the enigmatic
"grand pause" in the second movement of Elliott Carter's Piano
Concerto. Here, the impression of motion is conveyed partially by
dynamic control, but mostly by texture and register. Carter de-
scribes the overall idea of the concerto as a "dramatic . . . conflict
between the pianist, whose part emphasizes sensitivity,variety of
feeling, and virtuosity,and the orchestra, which progressivelydis-
sociates itselffrom the piano part, becomes increasingly insensitive,
unvaried and brutal... . . He also describes the particular moment
seen below, as a "big stringsound effect. . . crowding the piano out,
reducing its part to almost nothing.""14(See Ex. 12, page 180.)
By carefullycontrolling registerand dynamics, the "path" taken
by the piano sounds, in its retreat from the wall of stringsound, can
be heard as being compressed to a single thread on fl, dying away at
measures 614-618, and reappearing on the other side of this sonic
13 Elliott Carter (with Allen Edwards), Flawed Words and Stubborn Sounds (New
York, 1971),p. 105.
14Ibid., pp. 109-10.
,m benseni//o
AG..
TTmm
-
Brr7 3p p
- po C
lim
pP " , ,
I I -I I
Timmp
Br (henin Tmpo)Sr
>? Hn
w.
Tp T"- -i
1514,
>
>II
T1> run
p
1-% ; ; #
_. pp. :.. __
arch. But "dying away" does not mean (in this case) "being gone."
It is, rather,as if those F's disappear beyond the threshold of audi-
bility, but, being still there, return over the threshold (after having
observed that the string sound itself has disappeared) and begin
expanding again.
4. Conclusion