Uploaded August 2018 | Updated September 2026, 3 hours ago
i. Avant «vers où il se peut que vos yeux nous emmènent»; ii. Commentaire I de «les rayons de l'amour infini de Dieu»; iii. «Vers où il se peut que vos yeux nous emmènent»; iv. Commentaire II de «des rayons de l'amour infini de Dieu» v.«Depuis avant le début du temps», version première; vi. «Les rayons de l'amour infini de Dieu»; vii. Après «vers où il se peut que vos yeux nous emmènent»; viii. Commentaire III de «les rayons de l'amour infini de Dieu»; ix. «Depuis avant le début du temps», double.
«Si l'un de nous se dit jamais dit au revoir, ce ne sera pas moi.»
i. Flûte, Vibraphone, Guitare, Alto
ii. Flûte, Xylorimba, Tambour sur cadre, 2 Bongos, Alto
iii. Voix, Flûte
iv. Xylorimba, Vibraphone, Cymbalettes, Cloche double, Triangle, Guitare, Alto
v. Voix, Flûte, Guitare, Alto
vi. Voix, Flûte, Xylorimba, Vibraphone, Maracas, Guitare, Alto
vii. Flûte, Vibraphone, Guitare
viii. Flûte, Xyloriimba, Vibraphone, Claves, Cloche double, 2 Bongs, Maracas
ix. Voix, Flûte, Xylorimba, Vibraphone, Maracas, Tam-Tam aigu, Gong grave, Tam-Tam très profond, Grande Cymbale suspendue, Guitare, Alto
i. Avant «vers où il se peut que vos yeux nous emmènent»; ii. Commentaire I de «les rayons de l'amour infini de Dieu»; iii. «Vers où il se peut que vos yeux nous emmènent»; iv. Commentaire II de «des rayons de l'amour infini de Dieu» v.«Depuis avant le début du temps», version première; vi. «Les rayons de l'amour infini de Dieu»; vii. Après «vers où il se peut que vos yeux nous emmènent»; viii. Commentaire III de «les rayons de l'amour infini de Dieu»; ix. «Depuis avant le début du temps», double.
«Si l'un de nous se dit jamais dit au revoir, ce ne sera pas moi.»
i. Flûte, Vibraphone, Guitare, Alto
ii. Flûte, Xylorimba, Tambour sur cadre, 2 Bongos, Alto
iii. Voix, Flûte
iv. Xylorimba, Vibraphone, Cymbalettes, Cloche double, Triangle, Guitare, Alto
v. Voix, Flûte, Guitare, Alto
vi. Voix, Flûte, Xylorimba, Vibraphone, Maracas, Guitare, Alto
vii. Flûte, Vibraphone, Guitare
viii. Flûte, Xyloriimba, Vibraphone, Claves, Cloche double, 2 Bongs, Maracas
ix. Voix, Flûte, Xylorimba, Vibraphone, Maracas, Tam-Tam aigu, Gong grave, Tam-Tam très profond, Grande Cymbale suspendue, Guitare, Alto



![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)

![Henri Pousseur, Madrigal III (Boulez, Domaine Ensemble) - Part 2
Madrigal III for clarinet, violin, cello, 2 percussion instruments and piano was composed in the spring of 1962 and dedicated to the memory of Wolfgang Steinecke, since 1945 founder and daring promoter of the Darmstadt Festival.
This work comprises almost all of Madrigal I, written four years earlier for clarinet solo. For Pouseeur, the earlier work represented a first and almost unconscious attempt to reactivate the harmonic values that post-Webernian music had almost completely neutralized. Pousseur made a more resolute attempt in this direction in Votre Faust. In Madrigal III, this reactivation is still dependent on dodecaphonic material, and crystallizes around a process of frequent and variable repetition of the constituent notes of an harmonic field.
The work excludes all mobile forms, yet benefits from a supple and fluctuating performance. While notes are clearly set forth, other aspects of the music (duration of pauses, intensity and attacks) are relaxed and permit a certain amount of liberty. Synchronization, speed, silences or dynamic evolution thus result partly from the performers reactions, which can be individual and isolated or contrarily, dependent on the reactions of other musicians.
Above notes by Jean-Claude Eloy
In 1945 Pierre Boulez won a first prize in harmony. He was twenty then, and suddently made the discovery that was to affect the whold of his musical life: the [second] Vienna School of Schoenberg, Berg and Webern. It was a revelation, he relates, I had a passionate urge to learn all about that music, to know how it was made. There were violent discussions then and the music of the [second] Vienna School was called mathematical recipes. But I realized that this was the music for our time, a language with unlimited possibilities for evolution. No other language was possible. It was the most radical revolution since Monteverdi. Suddenly all our familiar notions were abolished. Music moved out of the world of Newton and into the world of Einstein. The tonal idea was based on a universe defined by gravity and attraction: the serial idea, on a universe in perpetual expansion.
[Please accept our profuse apologies for the chthonic sound quality of this 1960s LP.] Henri Pousseur, Madrigal III (Boulez, Domaine Ensemble) - Part 2](https://i.ytimg.com/vi/wBUniWI1GTQ/mqdefault.jpg)
![Peri Mauer, AFTERWORDS.mpg
AFTERWORDS for clarinet, cello, and piano
PERI MAUER-Composer
Gilad Harel, clarinet
Steve Beck, piano
Alistar MacRae, cello
AFTERWORDS was composed in 2007, and recorded that same year at Juilliard.
In loving memory of my father, Arnold Mauer, April 5, 1919-March 9, 2006. Peri Mauer
[Video by Randolph Pitts] Peri Mauer, AFTERWORDS.mpg](https://i.ytimg.com/vi/wF1nSelBBCc/mqdefault.jpg)



