The creation of structural hierarchies in the orchestral music of Tristan Murail The spectralist style was notable among the post-war avant-garde for its focus on techniques capable of producing forms and structures that were clearly, audibly perceptible; while acknowledging its influence, Tristan Murail complained of serialism’s “refusal to make even the slightest concessions to the phenomena of auditory perception.”1 Though spectralism’s harmony has received much analytical attention, its innovations in the temporal/formal realm are the more significant achievement. Structures arise not solely through harmonic progression, but via texture, timbre, surface motivic material, and especially, control of formal proportions. Here I challenge the notion that a non-tonal harmonic scheme and intricate surface textures prevent modernist repertoires from articulating complex but perceptible large-scale foreground-middleground-background hierarchic structures.2 This paper examines three Murail pieces—Désintégrations, Gondwana, and Time and again—that do this to varying degrees. Each piece opens with bell-like orchestral attacks, with the space between attacks in unmetered “durational” time.3 These establish the notion of directed process as central to the spectral soundworld (Fig. 1). They also pull our time-sense up beyond the level of localized meter where it would generally rest in a metered piece. Because no foreground rhythmic pulse is established, our perception focuses on a middleground meter in which we perceive timespans of 10-30 seconds as a single “beat;” the successive attacks, each evolving perceptibly from the previous one, weld the beats into a unified “bar” lasting several minutes. Désintégrations (1982) is best heard as an example of Jonathan Kramer’s moment form, in which each “bar”/section is self-contained and isolated from the others.4 Its many sections do not overlap and each section’s process is internal and completed before it moves on to the next. Gondwana (1980) contains fewer discrete sections. Its climactic moment is accomplished by fiat, discernible more by surface salience factors (maximum textural density, extreme dynamics) than by deep structure; but the piece nevertheless more nearly approaches a form in which each section is heard as discrete but integrated with the others. Time and again (1985) contains the most convincing use of foreground and background activity to complement the middleground temporal strata that characterizes all three pieces (Fig. 2). Its foreground is rich in thematic elements which, as they recur in shifting contexts, unify our hearing as an unfolding totality. At the deepest level, A.1-G.1 serve as structural upbeat, and timbre, texture, and formal proportions unite with harmony—a dramatic statement of the pure overtone series, previously withheld—to articulate the structural downbeat at G.1. The identification of structure at deep levels is a subjective art. This paper offers new strategies for hearing the structures of spectral and post-spectral pieces. In doing so, it argues for the possibility of complex relationships and hierarchy in the postwar avant-garde repertoire; but it argues, too, that analysis need not rely too heavily on patterns found more in the score than the aural experience of the piece for such structures to emerge.

1 Murail, 2000 2 Glaser, 2000, Kramer, 1988 3 Cornicello, 2000 4 Kramer, 1988

Fig. 3. Spectralists, post-spectralists, proto-spectralists, quasi-spectralists. Proto-spectralists (cited as influential by spectralists) Claude Debussy (1862-1918) Edgard Varèse (1883-1965) Giacinto Scelsi (1905-1988) Olivier Messiaen (1908-1992) Spectralists Gérard Grisey (1946-1998) Tristan Murail (b. 1947) Hugues Dufourt (b. 1943) Michaël Lévinas (b. 1949)

Quasi-spectralists (contemporaries not directly associated with the spectralists whose work shows aspects of spectral thought) Jonathan Harvey (1939-2012)

Per Nørgård (b. 1932) Horațiu Rădulescu (1942-2008) Georg Friedrich Haas (b. 1953) Post-spectralists (studied with or influenced by spectralists) Kaija Saariaho (b. 1952) Philippe Hurel (b. 1955) Marc-André Dalbavie (b. 1961)

Bibliography Anderson, Julian and Tristan Murail. “In Harmony. Julian Anderson Introduces the Music and Ideas of Tristan Murail.” The Musical Times, vol. 134, no. 1804 (June, 1993): 321-323 Castanet, P. A. 2000. Gérard Grisey and the Foliation of Time.” Translated by Joshua Fineberg. Contemporary Music Review, vol. 19, no. 3 (2000): 29-40 Cornicello, Anthony. 2000. Timbral Organization in Tristan Murail’s Désintégrations and Rituals by Anthony Cornicello. (Unpublished doctoral dissertation.) Brandeis University, MA Fineberg, Joshua. 2000. “Spectral music.” Contemporary Music Review, vol. 19, no. 2 (2000): 1-5 Glaser, Susan. 2000. “The Missing Link: Connections Between Musical and Linguistic Prosody.” Contemporary Music Review, vol. 19, no. 3 (2000): 131-154 Grisey, Gérard. 2000. “Did You Say Spectral?” Translated by Joshua Fineberg. Contemporary Music Review, vol. 19, no. 3 (2000): 1-3

Harvey, Jonathan. 2000. “Spectralism.” Contemporary Music Review, vol. 19, no. 3 (2000): 11-14 Hepokoski, James. “Formulaic Openings in Debussy.” 19th-Century Music, vol. 8, no. 1 (Summer, 1984): 44-59 Jameson, Frederic. “The End of Temporality.” Critical Inquiry, vol. 29, no. 4 (Summer, 2003): 695-718 Kramer, Jonathan. 1988. The time of music: new meanings, new temporalities, new listening strategies. New York: Schirmer Books. Ledoux, Claude. 2000. “From the Philosophical to the Practical: An Imaginary Proposition Concerning the Music of Tristan Murail.” Translated by Joshua Fineberg. Contemporary Music Review, vol. 19, no. 3 (2000): 41-65 Lehman, Stephen H. 2012. “Liminality as a Framework for Composition: Rhythmic Thresholds, Spectral Harmonies, and Afrological Improvisation.” (Unpublished doctoral dissertation.) Columbia University, New York, NY Malherbe, Claudy. “Seeing Light as Color; Hearing Sound as Timbre.” Translated by Joshua Fineberg and Berry Hayward. Contemporary Music Review, vol. 19, no. 3 (2000): 15-27 Murail, Tristan. 2000. “After-thoughts.” Contemporary Music Review, vol. 19, no. 3 (2000): 5-9 Murail, Tristan. 2005. “The Revolution of Complex Sounds.” Translated by Joshua Cody. Contemporary Music Review, vol. 24, no. 2/3 (2005): 121-135 Pousset, Damien. 2000. “The Works of Kaija Saariaho, Philippe Hurel and Marc-André Dalbavie—Stile Concertato, Stile Concitato, Stile Rappresentativo.” Translated by Joshua Fineberg and Ronan Hyacinthe. Contemporary Music Review, vol. 19, no. 3 (2000): 67-110 Rose, François. 1996. “Introduction to the Pitch Organization of French Spectral Music.” Perspectives of New Music, vol. 34, no. 2 (Summer, 1996): 6-39 Warnaby, John. 1989. “Tristan Murail: Gondwana, Destintegrations; Time and again by Orchestre National de France; Ensemble L’Itineraire; Yves Prin; Bonn Beethovenhalle Orchester; Karl-Anton Rickenbacker; Tristan Murail.” Tempo, New Series, no. 171 (1989): 33-34