Fantasia on a Theme by Thomas Tallis

herp derp June 20, 2011

Overview

The use of range, orchestration, dynamics, meter, and key by Vaughan Williams in Fantasia contribute to a cohesive work that evolves a theme in three distinct sections, bookended by statements of the theme and transitional material. Vaughan Williams uses various elements of composition to clearly illustrate his intent in each section of the piece. The overall structure of the piece could perhaps be described by stability, followed by instability, followed by stability. In this paper, we will explore the ways Vaughan Williams exploits the instrumentation he uses and the decisions he makes throughout the work.

Instrumentation

The work is scored for two orchestras, and a string quartet. Orchestra I is the larger of the two, consisting of a full-sized string orchestra. Ideally placed separately from Orchestra I is Orchestra II, which consists of one desk from each section (9 players in all). One solo player from every section from both orchestras except violin II and double basses form a string octet. This octet is eectively rendered a quartet in the second section of the piece. Much of Vaughan Williams eorts to provide contrast stem from this rather unbalanced instrumentation.

Thematic material

Vaughan Williams obtains the musical material for the piece from Thomas Talliss Tunes for Archbishop Parkers Psalter. He takes the third of the nine, which is in Phrygian mode. The theme is reproduced in Figure 1. This material is put through harmonic and rhythmic transformations, with each section exploring a dierent perspective on the theme. The theme is in Phrygian mode, which is interesting for its atted

Figure 1: Third Mode melody from Tallis

second scale degree, while still maintaining its Do-Sol relationship. That the mode allows for diatonic planing (since both the second and sixth scale degrees are atted) is not lost on the composer. Vaughan Williams appropriates dierent sections of the theme for exploration throughout the work. To establish some notation for the sake of brevity throughout this analysis, we will use the following: T [start : end], shorthand for the phrase Starting at bar start and ending at bar end of the theme by Tallis. T [bar] will refer to that bar of the theme. Tallis balances stasis with change throughout the melody, and from here we can derive Vaughan Williams form and structure. T [1 : 3] are marked by change (an ascending line), while T [4 : 5] are characterized by a meditation on one note, suggesting the Phrygian half cadence. T [5 : 7] and T [8 : 9] are related to T [1 : 3] and T [4 : 5] respectively. The second half the theme, T [10 : 16] is characterized by falling heights and then a resolution. The climax of the theme occurs in T [10], in the middle of the bar.

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4.1

Structure
Statements of the theme

The opening bars of the piece consist of descending chords, with the contour resembling the last few bars of the theme. The opening is quiet, unison rhythm, and stable. This resolves into a a high D in octaves in the violins (the Db is used as a leading tone). Under this dominant pedal point, we start to hear fragments of the theme, played in the lower register. The composer uses this introduction to hint at how he will divide up the theme for later use. He does this through the orchestration. For example, the rst 3 bars of theme (T [1 : 3]) are played pizzicato, T [4 : 5] are arco, T [5 : 7] are pizzicato, T [8 : 10] are arco. These sections, as stated in our analysis of the theme, are related by either their dynamicism, or their stasis, and are orchestrated similarly. The climax note in T [10] is orchestrated by a pizzicato, a short arco, and a tremolo in the violins. This tremolo mirrors the pedal point of the third bar of the piece, except now it is a tonic pedal point. It sets the stage for the rst full statement of the theme. The rst statement of the theme, which goes from bars 15 31 is orchestrated by three subdivisions of the orchestra, the foreground, the background, and the foundation. The foreground consists of the cellos, violas, and the second violins, all of which are playing in the middle of the register, around C4 in unison pitch and rhythm. The foundation is provided by the double basses, who are still pizzicato, adding some color and percussiveness to the sound. The background is in the rst violins, who are tremolo throughout this statement. The second statement of the theme can be broken into similar subdivisions. Here the foreground is the rst violins in their high register, as well as the violas and cellos doubling in octaves. The foundation still lies in the double basses, but the background has shifted to the second violins, who have an arpeggiating chordal idea that provides harmonic change as well as textural change. Unlike the previous statement, which used a more or less static backdrop, this uses a much more dynamic backdrop. By the end of this section, we have heard the theme in full twice, in dierent orchestrations that bring out the aspects of the theme that the composer wants to explore. In the introduction, before any full statement, the composer uses a completely static pedal point as the background. In the rst statement, the background becomes more agitated as it switches to tremolo. Finally, in the second statement, the background is in full force, fully sounding out chords having been developed out by the previous sections. How these two and a half statements dier might provide a framework for the rest of the piece.

4.2

First section

The rst section lasts from measures 51-77. This section is characterized by a call and response between stasis and change, as each orchestra illustrates each eect with a variety of techniques. Orchestra I is evolved by the second orchestra, which is the smaller of the two. Like a conversation between two parties, ideas from the second orchestra are placed in the arena, and the rst orchestra hears them and decides to incorporate them into its dialogue. The second orchestra draws its material from T [4 : 5], T [8 : 9], and T [14 : 16], the

more static parts of Talliss theme, and is orchestrated accordingly. Orchestra II is muted and serve a more harmonic function than a melodic one. The rst orchestra draws its initial materials from T [5 : 7] but as it evolves, it starts to tend towards the second orchestras materials. Each of the rst orchestras entrances start out layered (bar 51, motion in the upper strings propagates downwards through the orchestra), before swelling to a climax. Orchestra II enters quietly, and stays quiet; they are even muted to further the contrast between the two orchestras. As this section progresses, orchestra I begins to build from the bottom instead of the top, and the layering becomes closer together. Eventually, the rst orchestra and the second orchestra are playing the same material derived from T [4 : 5] and T [8 : 9], but still reach a climax, which is mitigated by the second orchestra. This section is about an evolution of material in a certain direction. Vaughan Williams saw the contrast between stasis and change in the original melody by Tallis, and wished to explore it with the two orchestras. The orchestras are drastically dierent in size, and the contrast is further solidied by the mutes in Orchestra II. The static material is a catalyst for the rst orchestra, but it changes from this interaction as well. Previously, it had no dynamic contour; it did not swell to great heights. Before this section closes, we hear the static material swelling, and then falling back. It is layered from the lowest register to the highest. As the volume dials back, the register becomes lower as well, and one last call and response closes out the dialogue between orchestras, setting the stage for the next section. The section is also notable for its change in key, to F# Phrygian, which serves to further set it apart from the statements of the theme at the beginning. We are in uncharted territory.

4.3

Second section

The second section lasts from measures 78-189. It utilizes the string quartet heavily for the evolution of the piece, and uses texture, key, and rhythmic oddities to convey an overall feeling of change. While the previous section was a meditation on stasis and change, this section is a discussion of the material in a more uid context. The material is derived from T [10 : 16], and introduced in the viola, as a solo. The material is highly exposed here, and sounds like an improvisation on the original theme. While the original theme adhered to bar-lines and had a pulse to it, these improvisations often cross over the bar-line, and are more lyrical in nature. This variation on the theme is developed into a climax that occurs towards the end of this section, and which is also the climax of the entire piece. The string quartet is balanced against the smaller orchestra, with the bigger orchestra making light interjections at rst. Again, the setup is at rst a call and response. The call occurs in the string quartet, and is a development of T [10 : 16] in dierent modes. The response occurs in the second orchestra, and derives its material from T [1 : 3], and T [10]. The response is not as static as it was in the previous section: the orchestra is no longer muted, there are dynamic changes, and there is a contour to the line played. The texture here is thin so as to suggest to the listener a sense of instability, or change. As the string quartet develops the material, the bigger orchestra comes into play, in unison with the smaller orchestra. The calls from the string quartet start to become shorter, and the responses become longer, as development of material is sent to the other. The foreground shifts from the string quartet to the smaller orchestra, and eventually to the bigger orchestra, as material is developed. The call and response quickens until the bigger orchestra absorbs the string quartet, and then the smaller orchestra at measure 150. The modality changes often throughout the section, but often keeps the same key center, and instead changes around that center. The section starts out in E Phrygian, and moves to E Dorian with the introduction of the Violin I solo and as the string quartet develops the material. The fact that it changes is relevant to the goals the composer has throughout this section: to convey a feeling of change and evolution. As the theme passes through dierent modes and keys, the entire work is on shifting ground as the composer explores new territory. Rhythmically, we are also on unstable ground. The meter changes are frequent, and unrelated in how they break up. 3/4 will be followed by 2/4, and vice versa. As the section draws to a close, the rhythmic feel becomes more regular, starting at 5/8 and through 4/8, 3/8, and nally, 4/4. The second section is an exploration of the thematic material as a journey, rather than as a discussion. The theme is stated in an improvisational context, and evolved by the string quartet. That the theme is im3

provisational is important, because improvisation has an inherent quality of unpredictability and instability. In the previous section, the catalyst was the static elements of the theme, stated in the smaller orchestra, evolving the responses from the bigger orchestra. Here the catalyst is of a more unpredictable and lyrical nature, and evolves the material that the rst and second orchestra present. At measure 174, the evolution is brought to its fruition in the entire ensemble, as it states the material set out by the viola solo in the beginning of the section in full. As the rhythmic changes start to normalise, the register goes downwards, and becomes quieter and slower as we move into the nal section. This section is also an exploration of growth and absorption. It is somewhat analogous to the interaction of raindrops on a wind-shield. As time goes on, the larger droplets will absorb the smaller ones. In the same way, the second orchestra starts to build on the material developed by the string quartet, and eventually has a call and response section with it. The rst orchestra, the largest one, starts to absorb the second orchestra, which is absorbing the string quartet. This slow process of growth and ultimately synthesis might provide an explanation for this sections length and more uid nature.

4.4

Third section

The third section is the shortest, going from measures 190-199. This short call and response section harkens back to the rst section, which consisted of a static and a dynamic call and response. Here, the conversation between the two orchestras is completely static, which both orchestras failing to evolve the other. The section ends with a short recapitulation of the opening orchestration, but with the pedal point in the second orchestra. Sweeping arpeggios and chordal changes overtake the pedal point as the theme is restated. This section is also a way to bring us back to the original key of G Phrygian.

4.5

Restatement of theme

The theme is stated in full, in the upper register of a solo violin. It is the most plaintive and exposed statement so far, and with no changes. It is in one octave, and in the foreground. Here we have again foreground, backgrounds, and a foundation. The foreground is the solo violin. The rst background is the contrapuntal line in the viola. The other background is in the non-soloed violins, who have tremolos and a contour that follows the solo violin. The foundation is the bass and cello pizzicato that provides a percussive backdrop to the rest of the orchestration. The viola counterpoint is rhythmically related to the viola solo at the beginning of the second section. As the theme enters its second half, the rest of the orchestra enters in on its statement. The theme closes with the orchestra in unison, as the theme falls back. The theme is stated in the original key of G Phrygian.

4.6

Coda

Measures 216 to the end mark the outro of the work, with the ensemble in unison at rst, and then a solo violin bringing us to a great heights, before the rest of the orchestra grounds us in G Major, the original key. The static material from T [4 : 5] and T [8 : 9] is developed as it was at the end of the rst section, with the change coming from not the material itself, but the dynamics and range of the orchestra. A forte-piano, and a solemn statement from the violin set the stage for the swell to the very last chord, which dies o.

Closing remarks

The work can be seen as an astute interpretation of an original theme, as well as a way for the composer to experiment with texture, orchestration, and other elements of composition as a way to bring out dierent aspects of the theme. As Tallis balances stasis and change through his melody, Vaughan Williams does the same. Each section is marked clearly by his intent to have certain material presented in some context evolve what the rest of the ensemble will do.

Almost all of the characteristics of this piece can be seen as extrapolations from the original theme. The conversation between stasis and change, the climaxes of the theme, the falling heights of the last bars of the theme are all devices used by the composer in each section of the piece. The closing bars of the piece echo the sentiment of stasis, and are in the same key as the opening. The moments of instability in the second section linger in these nal bars, as the rest of the orchestra quiets to allow for a solo violin to nd its way into the upper register. The layering of the static material just before shows the transformation the theme has gone under throughout the piece. Perhaps Vaughan Williams is communicating that, though we start and end as essentially the same being, moments of indecision and instability alter us in some way, their eects living on in some manifestation of us.