Uploaded February 2023 | Updated September 2026, 2 hours ago
© 2021 Randolph Pitts All rights reserved. This piece was composed entirely from a musical cryptogram derived from the letters of the woman to whom it was dedicated, Anita Marie DeFrancesco. The series of notes in this cryptogram was used as a theme and also transformed into twelve-tone rows from which all other music in this piece was derived. Using inversion, retrograde and retrograde inversion rows, derived rows, and pitch set class multiplication resulted in over seventy tone rows used in this piece. No other musical material was composed or added other than that composed in accordance with the mathematicall process here described.
This channel is named after my Great Grandfather Lendall Pitts, one of the leaders of the Boston Tea Party of 1773 which began the American Revolution. Randolph Pitts is a well-known international motion picture producer. He holds Summa Cum Laude degrees in Social Psychology and Egyptology from the University of California, Berkeley, and a Master’s Degree in Motion Picture Production and Entertainment Law from UCLA. He has also done advanced research for the Department of Psychology at UCLA, concentrating on couples and relationship dynamics. He is a member of the Phi Beta Kappa and of the American Philosophical Association, the organization of university professors of philosophy. He is also an associate member of the Los Angeles County Bar Association. Randolph Pitts has been a top executive at several entertainment companies, including a ten year sting as Chief Executive Officer of the company that produced Leaving Las Vegas, the film for which Nicolas Cage won the Academy Award as Best Actor. As a composer he has written pieces in all genres, including works for vocal orchestra and soloists ("A Cabaret for Cesare Pavese,” dedicated to the memory of Constance Dowling; "Der Schatten eines Traumes," dedicated to HA, "Das Buch der Blauen Rose,” dedicated to CS, and concerti, including his highly regarded “Concerto for String Orchestra“ and his “Concerto per pianoforte e orchestra dedicato ad Anita DeFrancesco”The first volume of his eagerly anticipated tetralogy of novels will be published during the fourth quarter of 2023. Pitts’ spellbinding novels deal at an unrelenting fever pitch with eroticism, mysticism, terrorism and crime on a global scale. And Also… with women and men falling in love. He has a lifelong interest in the relationship between philosophy, psychology and history He is the founder, writer and host of the Explore Ecstatic Sensuality podcast, the number one sex and sensuality podcast in the world, which may be heard on my other channel, Lendall Pitts II, as well as on all podcast platforms. Advance praise for one of Randolph Pitts’ novels: “A moving meditation on love, sensuality, and twenty-first century man’s fate in the universe. Possibly the greatest novel of our time.” The piece heard here is “Love, For Three Orchestras and Large Organ, Valentine’s Day 2023 Remix"
© 2021 Randolph Pitts All rights reserved. This piece was composed entirely from a musical cryptogram derived from the letters of the woman to whom it was dedicated, Anita Marie DeFrancesco. The series of notes in this cryptogram was used as a theme and also transformed into twelve-tone rows from which all other music in this piece was derived. Using inversion, retrograde and retrograde inversion rows, derived rows, and pitch set class multiplication resulted in over seventy tone rows used in this piece. No other musical material was composed or added other than that composed in accordance with the mathematicall process here described.
This channel is named after my Great Grandfather Lendall Pitts, one of the leaders of the Boston Tea Party of 1773 which began the American Revolution. Randolph Pitts is a well-known international motion picture producer. He holds Summa Cum Laude degrees in Social Psychology and Egyptology from the University of California, Berkeley, and a Master’s Degree in Motion Picture Production and Entertainment Law from UCLA. He has also done advanced research for the Department of Psychology at UCLA, concentrating on couples and relationship dynamics. He is a member of the Phi Beta Kappa and of the American Philosophical Association, the organization of university professors of philosophy. He is also an associate member of the Los Angeles County Bar Association. Randolph Pitts has been a top executive at several entertainment companies, including a ten year sting as Chief Executive Officer of the company that produced Leaving Las Vegas, the film for which Nicolas Cage won the Academy Award as Best Actor. As a composer he has written pieces in all genres, including works for vocal orchestra and soloists ("A Cabaret for Cesare Pavese,” dedicated to the memory of Constance Dowling; "Der Schatten eines Traumes," dedicated to HA, "Das Buch der Blauen Rose,” dedicated to CS, and concerti, including his highly regarded “Concerto for String Orchestra“ and his “Concerto per pianoforte e orchestra dedicato ad Anita DeFrancesco”The first volume of his eagerly anticipated tetralogy of novels will be published during the fourth quarter of 2023. Pitts’ spellbinding novels deal at an unrelenting fever pitch with eroticism, mysticism, terrorism and crime on a global scale. And Also… with women and men falling in love. He has a lifelong interest in the relationship between philosophy, psychology and history He is the founder, writer and host of the Explore Ecstatic Sensuality podcast, the number one sex and sensuality podcast in the world, which may be heard on my other channel, Lendall Pitts II, as well as on all podcast platforms. Advance praise for one of Randolph Pitts’ novels: “A moving meditation on love, sensuality, and twenty-first century man’s fate in the universe. Possibly the greatest novel of our time.” The piece heard here is “Love, For Three Orchestras and Large Organ, Valentine’s Day 2023 Remix"


![Heinz Holliger, Glühende Rätsel, Hedwig Fassbender, mezosoprano
Der Zyklus Glühende Rätsel nach Gedichten von Nelly Sachs wurde während der Donaueschinger Musiktage 1964 mit Jeanne Deroubaix (Alt) und dem Ensemble du Domaine musical unter der Leitung von Pierre Boulez uraufgeführt. Das Werk (für Altstimme, Flöte, Bratsche, Bassklarinette - Kontrabassklarinette -, Becken, Harfe, Celesta und Schlagzeug), Auftrag des Südwestfunks, ist NeIly Sachs gewidmet.
Nelly Sachs (1891-1970) zählt zu den wichtigsten Dichterpersönlichtkeiten deutscher Sprache. Sie wurde von den Nationalsozialisten verfolgt und fand Zuflucht in Stockholm. 1966 erhielt sie den Nobelpreis.
Nachdem ich lange Zeit an einem szenischen Werk zu einem ihrer Texte:
Der magische Tänzer (für Chor und mehrere Orchestergruppen) gearbeitet hatte, wollte ich die während dieser Arbeit gemachten Erfahrungen kondensieren und kristallisieren. Gleichzeitig habe ich versucht, meine Sprache hinsichtlich der Form, des Ausdrucks und der Farbe zu differenzieren.
Glühende Rätsel ist ein Werk in fünf Teilen. Von 1 bis III werden die strukturierten Elemente, sehr klar voneinander abgesetzt, vorgeführt. IV nimmt die Strukturarten der beiden vorhergehenden Sätze wieder auf (und kehrt deren Anordnung um). Gleichzeitig entwickelt sich die Schreibweise der Dauer zum Unbestimmten hin und lässt den Interpreten einen größeren Spielraum in der Besetzung. Der Teil V, selbst in fünf Perioden unterteilt, fasst alle vor-hergehenden.Teile zusammen und entwickelt sie. Die innere Thematik des Werkes Glühende Rätsel ähnelt derjenigen meiner ersten Kompositionen von Kammermusik, zum Beispiel Erde und Himmel und Elis; jedoch im Vergleich zu diesen Werken zeigt Glühende Rätsel eine größere Beweglichkeit in der Behandlung des musikalischen Materials und eine betontere Differenzierung der klanglichen und formalen Bereiche. Beim Komponieren dieses Werkes habe ich die Wirkungen durch zahlreiche Schichten zwischen Wort und Ton und ihre gegenseitigen Einflüsse aufeinander bevorzugt. Dies hat mich zu neuen Lösungen für meine Komposition geführt.
-Heinz Holliger
Schon der Vokalzyklus Glühende Rätsel nach Nelly Sachs (1964) ist keine Adaption des Marteau-Modells. Der dort praktizierten positiven zyklischen Wucherung setzt Holliger das Prinzip einer letalen Synthese entgegen. In Glühende Rätsel, die Holliger einmal als «Totenbuch in fünf Stationen» bezeichnet hat, werden verschiedene Deklamationsarten, Klangtypen und vor allem Zeitebenen in vier Liedern aufgestellt, um sich im finalen fünften bis zur Auflösung zu durchdringen. Hier liefert das letzte Stück nicht «die Lösung, den Schlüssel zu diesem Labyrinth», wie Pierre Boulez es in der zyklischen Anlage seines Marteau sans Matre (1956) beabsichtigt hatte, sondern ist Endpunkt einer negativen Zyklik, eines «Kreuzweg[s], der bis zur Auflösung führt». Gestische Valeurs, die über rigorose frühserielle Automatismen bezogen werden, besitzen in dieser Musik die Konnotation einer Zwangshandlung. Entsprechend hat Holliger den marionettenhaften Protagonisten seines Bühnenwerks Der magische Tänzer (1963/65), ebenfalls nach Nelly Sachs, in ein «Boulezsches» Klangkostüm gesteckt.Nelly Sachs war Schreiben Mittel, den Atem vor dem Ersticken zu retten. Ihre Gedichte sprechen sich einem unauflösbar anderen Du zu, suchen Begegnung im unverfügbaren Zwischenraum. Gegenüber Heinz Holliger wünscht sich Nelly Sachs den Text als Haltestelle und dann der lange Atem der Musik u. Gebärde Musik als das Andere des Textes, als Ausatmung des Wortes, über das Gesagte hinaus an die Wurzeln des Sagens zu reichen. Auch Holliger glaubt nicht mehr an die Eigenständigkeit des Materials, kann nicht mehr auf ein Repertoire von Symbolen zurückgreifen. Für ihn finden Wort und Musik an den Grenzen (wenn nicht gar jenseits der Grenzen) zueinander. Er löst die Rätsel nicht, sondern wahrt sie mit musikalischen Mitteln. Interdisziplinär angelegt, fragt die Studie nach einem grundlegend dialogischen Methodenbegriff, der Lyrik und Musik je und je gerecht zu werden vermag. Die analytischen Befunde werden u.a. gestützt durch Forschungen im Stockholmer Nachlass der Dichterin, Sichtung ihrer Korrespondenz sowie durch Auswertung der Basler Kompositionsskizzen von Heinz Holliger. Heinz Holliger, Glühende Rätsel, Hedwig Fassbender, mezosoprano](https://i.ytimg.com/vi/uSsFyV1qxEc/mqdefault.jpg)

![Randolph Pitts, Sonata for Cello & Piano [1/3]
The Sonata for Cello & Piano was composed in 2010 and was dedicated to the composers fiancée. The work is one one movement. This is the first of three parts (video divided due to YouTube upload restrictions at that time). Randolph Pitts, Sonata for Cello & Piano [1/3]](https://i.ytimg.com/vi/uhiLnmqsky8/mqdefault.jpg)





![Wallingford Riegger, Dichotomy, Part 1 of 2.mpg
Given the paucity of other sources, it seems likely that Wallingford Riegger learned much of what he knew of the twelve-tone method from his personal contact with Adolph Weiss. Riegger was already composing rugged, dissonant, atonal music in what was emerging as a shared ultramodern style, but he became increasingly interested in the possibilities of the twelve-tone method. In 1932, he completed his first piece that can reasonably be described as twelve-tone in significant respects (Dichotomy), and thereafter most of his instrumental music was serial at least in part.14
Dichotomy uses two series. In the published score, Riegger labels them A and B and identifies their occurrences and transformations (inversion, retrograde, retrograde-inversion) in the score (see Example 1.4).15 Series A contains eleven of the twelve notes (F is excluded). Series B contains thirteen notes (F♯ and B are excluded; F, G, and A are each stated twice). The last three notes of Series A (G, G♯, and A) return as the first three of Series B the two series otherwise share no segments. What they do share, however, are some of the characteristics of ultramodern melody: variety of interval and pitch (the latter, of course, endemic to serialism) and an avoidance of triadic outline or implication.
In the passage shown in Example 1.5, there are two distinct musical streams, one serial and the other not. Within the serial stream, we hear an ongoing duet, pitting either Series A or B against its own inversion. These are driving, craggy, widely spaced melodic lines. In the opening of the passage, Series B, played by the lower strings and bassoon, is heard against its inversion at T9I, played in the upper woodwinds. The two melodies are mirror images of each other in register this is a pitch, not a pitch-class inversion. Subsequently, the T1 transposition of A (in retrograde) is heard against the T9I inversion of A (also in retrograde). Again, the contours of the two melodies are largely mirror images, although this breaks down at the end of the passage, when each melody ruminates on its concluding four or five notes. Throughout these duets, and throughout the piece, Riegger maintains a concrete conception of the series as an actual melody with a specific contour. When the series is transposed or transformed (via inversion and or retrograde), its rhythms may change, but its registral shape generally remains the same. For Riegger, a series was primarily a line of pitches (not pitch classes), an actual melody with a determinate contour.
In the passage in Example 1.5, there is a second, non-serial stream. It consists of pairs of four- or six-note chords. These chords, sometimes preceded by ascending scales in parallel major sevenths, punctuate the passage, dividing the serial duet into discrete phrases. The chords are also extended into the driving rhythmic ostinato that runs through most of the passage. The resulting musical texture is about as far removed from Schoenbergs (and Weisss) neo-Baroque dances as possible, showing a much greater aesthetic kinship with works like Stravinskys Rite of Spring and Bartóks Allegro Barbaro. Apparently Riegger understood right from the beginning that the serial approach is not wedded to any specific style or texture; rather, it is a way of thinking about and organizing tones related only to one another (not to a tonic), permitting many different kinds of musical realizations.
The chords are identified with numbers in the score in Example 1.5. The first chord is a segment of the chromatic scale (which Riegger would have understood and described as a cluster chord) arranged as two whole tones a minor ninth apart. The first chord is then transposed up a semitone to produce the second chord. Taking the first two chords together, we have a five-note segment of the chromatic scale: C♯DD♯EF. The third and fourth chords transpose the first and second up by a perfect fourth (but not in register), producing another, non-overlapping segment of the chromatic scale: F♯GG♯AB♭. The fifth chord repeats the notes of the third chord, adjoining to them the lower whole tone of the first chord. The sixth chord transposes the fifth chord up by a semitone, and thus consists of the content of the fourth chord to which the lower whole tone of the second chord has been adjoined. The fifth and sixth chords together thus project almost the entire chromatic aggregate (only B, C, and F are missing). The chordal stream in this passage thus involves the dissonant major seventh (or minor ninth) as a harmonic interval and a preference for verticalized segments of the chromatic scale.
[Joseph N. Strauss] Wallingford Riegger, Dichotomy, Part 1 of 2.mpg](https://i.ytimg.com/vi/vrU3LTGM0Mo/mqdefault.jpg)