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Document Vida Folke Rabe PG 84
Document Vida Folke Rabe PG 84
Document Vida Folke Rabe PG 84
MS,U
fio. 331
DISSERTATION
By
Denton, Texas
August, 1991
3"7?
MS,U
fio. 331
DISSERTATION
By
Denton, Texas
August, 1991
Engstrom, Larry H., Contemporary Swedish Music for
titles.
the Music for trumpet and prepared audio tape, Folke Habe's
musical culture.
TABLE OF CONTENTS
Page
TABLE OF EXAMPLES iv
INTRODUCTION 1
Chapter
Cultural Institutions
Swedish Music After 1960
Swedish Music For Trumpet After 1960
His Music
Face the Music
The 1960s
The 1970s and Rikskonserter
The 1980s: Back to Composing
Shazam
His Works
Infrastruktur
CONCLUSION 167
APPENDIX A
APPENDIX B
BIBLIOGRAPHY 177
ill
TABLE OF EXAMPLES
Example
2. Zwedberg, Brasskvintett.
measures 1-2, 155-158, 194-196 64
transpositions of Po 107
iv
21. Rabe, Shazam, measures 5, 13-14, 18-19 116
measures 1 - 8 148
VI
INTRODUCTION
composers.
material.
expression.
sections. 2
literature.
CHAPTER I
different dimension.
3. Ibid., p. 38.
8
compositional style.
up of life's experiences." 5
style.
composer's ethic.
of radical ideas, were more popular with the public than any
1910).
10. I b i d . , 7 8 .
14
and Sibelius.
contrived. 1,15
18. Mindagsgruppen.
19. Olaf Hojer, "The Monday Group and the Path toward the
50s
' " Tradition and Progress in Swedish Music, ed. Bengt
Pleijel (Stockholm: AB Thule, 1973), 81.
18
to look away from the past toward something new, and the
20. Ibid.
believe it is the contents which seek their form and not the
23. Ibid.
20
music drama.
27. Ibid.
22
Carlstedt (b. 1926), who made his debut with the First
Lundquist.
the fifties. His works follow his own path, lying somewhere
all kinds had been growing for some time, both in quantity
full bloom.
War II. Mostly outside the battle zone, it emerged from the
24
25
citizen.111
3. Utbildningsdepartementet.
26
optional.
especially abroad.
to the MIC for help, and a plan was established wherein the
MIC would publish all Swedish music itself, thus saving STIM
aggressively.
most Swedes.
Fylkingen
1950s and sixties, said of this time: "As far as new music
of the 50s and the first half of the 60s were particularly
that city that he, along with Bruno Epstein and Sven-Eric
music in 1957. 1 2
from all over the world. Plans for the project moved
in 1972.
Nutida Musik
early 1950s, the Nutida Musik radio series and journal have
Swedish Radio
forms of music for its listeners has been the catalyst for
monthly salary. 1 7
Rikskonserter
were made as far back as the 1930s, but they were postponed
possible." 21
of all ages.
passive activities.
Reaionmusik
Education
Cultural Hierarchy
29. Skoloverstyrelsen.
had such people in the "Monday Group." They were the force
School.
vanguard during the 1960s were Jan Bark (b. 1934) and Folke
just about every rasp, hoot, honk, sniffle and tinkle which
disarticulated." 3 5
the rest of the Western world for ideas and ideals, and in
way and for its own reasons with, at least in the area of
About 60% of these are works for brass groups (duos through
Trumpet Music are written for piccolo trumpet and the second
the instrument.
The older you get, the more you come to realise the
importance of melody." 4 1
39. Olaf Hdjer, "The Monday Group and the Path Toward the
50s
' " Tradition and Progress in Swedish Music, ed. Bengt
Pleijel (Stockholm: AB Thule, 1973), 80.
41. Ibid.
49
are lacking, and the only things that do occur are very
noise, quasi tono, mezzo tono and other effects that are
out the scoring, and give the piece an almost South American
flavor.
becoming international. 44
style than either of the others. His subtle piece for solo
1970 and 1990: Eyvind Hallnas, (b. 1937), with four brass
teacher in 1974. 2
After the 1974 Spring term, Zwedberg felt the need for
1. Musikhogskolan.
54
55
his own life was headed. The contrast between his career as
superfluous activity.
the time, the only student accepted into the class with
His Music
(1982) for woodwind quintet and tape and Rostband (1983) for
etc.) carry their own short motive, thus providing the basic
1/12, etc.
techniques.
mp legato
Iwt .
g j ^ u r n m a
mf red.
62
its own set of rules to follow, and the parts have similar
the other parts as well. This fact, coupled with the fact
that all the parts are derived from similar basic material,
computer changes the parts, and presto, you get to hear what
I>pltnC
Trp2lnC
liJ1 . .
J 2> 1
"
f 1
j-'
'* ' * *
T TO j j J
JJI11 i i J
- i \\ t = 1 1
when one learns how to use it. His latest work, Gir (1990)
15. plastbogserbit.
66
were used in Face the Music. The tape part was made first
accompaniment.
first and second sections in the tape part. The first two
[ft ° 0
o >> > >
V <
P>
o °
• • * * I [WW
• >
to a close.
0pp«-f- a = ftdluoppef
open
Operi
(no )rma.L^ (sounds a quartet-
+ori£ icwehj
3*38".
'r
73
mute all the way in rather than extended. This allows the
tape keeps rising and the white noise is replaced with very
with the tape part, first softly, then louder and with
(4-3.) 6'ir
£
increasing intensity. The principle of overblowing, in
f/r
fifths (of which there are a total of five) and any other
Section
next most common, the whole step, only occurred 18% of the
resoundingly.
possible.
music.
CHAPTER IV
jazz band. Between 1958 and 1964 Rabe played with Jack
Band. 1
84
85
thing over and over again, said Rabe, "By putting myself
was not the primary objective. Rather, the goal was simply
The 1960s
8. Henrik Sjogren, "Rabe ger ljud ifran sig igen: 'Jag far
kickar av att komponera,'" Tonfallet 12 (1982), 11.
("Jag vill g6ra musik fdr konkreta situationer, detr
vanliga mMnniskor kan anvanda den. Det ar darfor jag si
garna arbetat med kormusik.")
89
his Bel-Canto choir, and together they made many long tours
ingredients of this new art form were: music, but not in the
humor. 1 1
during which he had not written any new works, Rabe composed
well.
14. Ibid.
92
stops along the way. During these pauses, the musicians are
musician has." 1 6
When Bolos was conceived, Rabe and Bark had not yet
since, for the most part, used his trombone only within its
all over Europe. Rabe says of the time: "It was very
widely known.
the voice. 19
film entitled Mannen som overgav hilar ("The Man Who Gave Up
and reasonable. 2 3
Rabe did not compose during the 1970s. In 1980, he left his
he was eager to compose again, and since 1980 has been able
works.
"show" about it. The unusual entrance and exit are merely
Since 1983, Rabe and Jan Bark have joined forces again
26. Karl-Ola Nilsson, "Folke Rabe p& dagis: ' Min storsta
framgSng som tonssittare,'" Tonfallet VI/VII (1984), 7
expanding, or "escalating."
parts.
Tp
m m sim.
- h — . 1 TUT TJ H JiJi »»
-NJT
i ,r ~JLJ IN
6 sim.
JL!•
F.H. I
fr
,rrr
U-U
p
Tb
V
; *
Tu P~J|RH
J T H JTT ' F h ~ W
Tp
; -TUT
J
TJ H m• bW :i I 1 TT U T
J«J Jw
"]^LJM IH
J bJ Ji aiJ | T -•J,n*t r n ~]LJ I I
ft
F.H. I
ty rr rr rr rr
p
iss.
Tb
^ ^ bp-
PP
Tu
Molto tranquillo
Tp
P.H.
Tb
Tu
Tp
P.H.
Tb
Tu
tempre
(see F.HJ
(tee F.HJ
104
Tp
P.H.
Tb
Tu
Tp
P.H.
Tb
X
Tu
105
(285)
Tp
F.H.
Tb
Tu
unified whole.
Shazam
the two "A" sections and slow for the middle, or "B"
1 L. 1 1 1 0 | " 1 « 1 8" 1 it 1 u 1 H
O
m. }L " 1 -I n I to M- I ,
I• I H
- f t ft 1 :
fPio {
Tz
fP9
fp4
2>6
third, etc. pitches of the row, but this time with the
a
' T» * «
1 |.f I u"T 4 "—n—fi
J 1 1 1 " It" 1 « ^
109
circled).
E
m =H
i 1971 ft k r^i FfflrrrWrrb- v —f j >
g d;
I1P1 m
J*' «
•
m
.ff Mf
i
t
lunga
i
<*»*\
J= 60 Molto espr.
line (P6).
I chose other pitches than the one which was on turn in the
of fresh pitches, so that the music would not stick too long
in one tonality." 3 1
Example 19, the pitches from the original row (Po) and its
i>P-=
5 that any other pitches from the row are used. In somewhat
the next pitches in the row ("E" and "G#") until after the
much the same manner: the "A" (m. 8) begins a scale and the
twelve-tone piece.
the last two staves of the piece) are derived from the
33. See page 176 on the right hand side of the score.
Compare, for example, the passage marked by the number 1
in the original manuscript found on page 173, and the
revised version again marked by the number 1 on page
176. "Retuscher av sid 1" means "retouches of page 1."
perform, the trumpet remains against the lips for almost the
pedal "G" (two octaves below low "G"), and up to "G" above
m
pf sukp ^
5
4
ugTjj IiIZISS
M
J>P<
117
"l
Am J
J&L
/ P$ub.
quarter-note equals 132 beats per minute for the first and
(Example 23).
rhythm.
arrows do not appear in the score until the end of the first
PREFACE
Optional visual instructions, for stage performance only:
t
1
< — — • Directing instrument to the left, center or
right*'part of the audience respe'ctively.
Directing instrument slightly to the left or
right*) respectively.
t. Continuous transition from one direction of
instrument to another.
t A Vt /£'
crwe.
f 05ub.
A t
\ t ; /t
crssc. ^ creec.
the work.
his father and piano with a local music teacher from 1945
groups-1
124
125
that characterization:
8. Ibid., 189.
127
of his music.
goes only to those few who are considered at the very top of
His Works
calculated forms." 1 6
career.
hit with spoons and flutes, and it ends with a tam-tam being
20. Anders Nilsson, "Brev tur och retur den andra sidan,"
Nutida Musik III (1986-87), 41.
133
perspective." 2 1
1960s, Nilsson wrote the music for two Jorn Donners' films:
22. Ibid.
134
bass. 2 4 During the late 1970s and into the 1980s Nilsson
(Example 26).
c ( D Tt~.po J. 74.
P
137
and the horn part, between measures 12 and 16, contain these
equally.
Amatista. but for the most part the work consists of five-
A f- 1
y.
/ ># J>® -
l/i - A tt. 1V4ntIt
•j-¥-
«-n!c»>tc
W ^ t>.j- 4-'
(ftw
TmbK lititiL
J ^
-i J jL
added sixth and ninth (Cmaj 6 9). The ending may be intended
a ^»e»vVt
K *«CKtt
<K uit>vtt
140
Infrastruktur
elements from the first two parts. Since Part III (and the
blessing." 29
loosely around the key of F major, but there are many non-
fifth.
29
' M0r fnr?TSf?nllqvist' "Bo Nilsson
' Wendepunkt," Nutida
Musik III (1984-85), 13.
143
ait
r:
M.-t V
Tub*
than the root in the bass (Example 31, end of measures 13,
sound.
1
V
— — ,
a r E
— • — • =* —
-|||j LJ i T-i
r«
r—-
. 10" 3=
J
w L-i _ '
3<Utpfer kurz
;,ig? p. o —o
. t t - = - «f «lie-*
o
7 * A * * — (| tbMtc
n C*(U, fWtt
tut. bo
£ a
rapid movement.
harmonies.
In Example 34, the tuba line in measure 6 and all five parts
while the second and fourth chords contain both major and
l: frm
?•=»
0 r*f .*1:
ii
?6»vpf<r fU*f
» l£
cwf 1 ftf
fc~pfe/ a-f
(marked above the score in Example 35), and the final chord
resolution.
£
A
>h *• if,
¥
frp. t»
•i* 7- J'
v<*.
tjt }• ¥~
h
150
7
'f-
i
m p - 1 \
c
-H
i
% p —1
M f
Hr. —y-
p •=-
-r.
lAf === si
151
Ttfepa J t S o ' •
SSksaaSiiE
They are what make this section distinct. The use of whole-
major triads for two measures (Example 38), again scored for
close.
rit. . . _
£
f—»-
' ttt
I
S t
tn
the slow tempo, and the subdued effect all relate to the
movement up by step.
Trf
Hr.
?*S.
I. t
155
m *f
Lento *60
i 0 Damp/.
Damp/. a9
'Damp/, ov
would be referred to as C 7 < b 5 > , B 7 <~ 6 > , Em 7 < b 5 > , Eb 7 < b 5 > ,
u Lento =54
Trf
i Uaatiss.
Mr.
t (egatiss
?°S.
t Uaatiss
T.
very slow tempo (Example 43). The chords are all simple
Trf
pi
H<\
Sl
T.
emphasis.
SUigrtsiv. »66
M *
Tr*.
P
J j dim
and minor thirds), and a minor triad with major seventh and
H-r,
To$.
rr
"Eb" (for Bb trumpet), the French horn to its high "C" and
the trombone to its high "Db." The tuba ascends, and many
to produce, and the very high range of the tuba produces the
161
desired effect. 3 2
pitch.
32. The tuba part was most likely conceived for a French
tuba in C, an instrument much shorter in length than the
standard tuba in use in the United States. Pitched in
the range of a Euphonium, but with 5 valves that enable
it to reach low notes as well, the French tuba better
matches Infrastruktur's extended range requirements.
162
Largo waiiloso J - £0
Example 47.
0- ^
*#r
Fs
Much rehearsal time is required in order to interpret
mandated.
repertory.
CONCLUSION
167
168
timbres.
170
171
APPENDIX B
172
173
!s
I
f
: 1
174
il
h
175
176
A
BIBLIOGRAPHY
Published
177
178
Hdjer, Olaf. "The Monday Group and the Path Toward the 50s,"
Tradition and Progress in Swedish Music, ed. Bengt
Pleijel. Stockholm: AB Thule, 1973, 80-86.
Unpublished