Review

Reviewed Work(s): Parisonatina al'Dodecafonia (1964) by Donald Martino

Review by: Brian Fennelly
Source: Perspectives of New Music, Vol. 8, No. 1 (Autumn - Winter, 1969), pp. 133-135
Published by: Perspectives of New Music
Stable URL: http://www.jstor.org/stable/832129
Accessed: 17-12-2017 00:16 UTC

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NEW MUSIC

DONALD MARTINO: Parisonatina al'Dodecafonia (1964)

DON AL D Martino's Parisonatinacompositional control of the open-

al'Dodecafonia for violoncello ingsolo
is relaxed gradually in succeed-
ing movements. In the final move-
exemplifies this composer's continu-
ment, a cadenza, the performer
ing interest in exploiting possibili-
may prepare his own realization of
ties within the twelve-tone system
and his consistently inventive certain
ap- given pitch complexes. The
notation employs special noteheads
proaches to matters of compositional
and instrumental technique. to The
indicate modes of production other
title incorporates the name than normal, such as pizzicato, col
of cel-
list Aldo Parisot, for whom thelegno,
work and the use of harmonics.
was written; his name also appears
The composer wishes great rhythmic
imbedded syntonically in a freedom
motto in performance, and, al-
which appears throughout the though
piece. the numerous tempo instruc-
Within a four movement frame- tions and elaborate rhythmic subdi-
work (conceived in two parts ofvisions
two may initially suggest other-
movements each) the technical and
wise, they function toward this end.
The pitch structure is concerned
expressive resources of the instru-
with aggregate formation generally
ment are explored in a most impres-
through types "A" (012345) and
sive and fluent manner. The complex

utt. batt ritardando Quasi una cadenza, , battuta

A battuta4 btt. Poo =1128)eo Lorgapoco ente

.- '. Menomrosso acce--l,,,,. - i L*
Meno ffosso 3r

Al
pooi) (poc
pesaote,

180-166)
Eof

rr V 2 j
rit) awicopesonfe'rrlde
rude espr, esplr
A batuta, ar= Pco meno Largamente
Ex?1 M artino,,gbatt.
PPn a a e f ed oM
0at

Tj 019 ,, ?p~n

ord.. Libera mente TS

or. Liberaomnte
v 1* -ft*6 1. i mjih% -A. 33s.

Ex. 1. Martino, Parisonatina al'Dod

. 133 ?

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 PERSPECTIVES OF NEW MUSIC

ob
CADENZA SUL NOMEE '103 S1:Dq v

4.9
Pi~ inenooarar) ma co age

BarbEarox.= ..IMat PD fn uii intens~o(barbaro), ma con larghezza

[a~r

/Vat/ o rit aP.9~trd.

fI

m v

swt' r--3--m-
do

Ex. 2. Martino, Parisonatina al'Dodecafonia, beginning of Mvt. 4

"D" (012678) hexachords.1 The simply a relaxation of the precom-

source for these choices is seen in the
positional structure to achieve a
more desirable sonority at a key
first movement, conceived as a passa-
caglia, where successive six-notepoint.
units form complementary "A" typeWhile timbral devices in move-
hexachords (the repetitive structuralment I are identified with the char-
unit), while over the entire move- acterization of polyphonic lines, in
ment a single "D" type twelve-toneII (Scherzevole) these means help to
set can be seen to occur within each distinguish sections within the move-
of six areas defined by mode of pro- ment. This second movement is a
duction and registral position. Theserondo both in terms of set succes-
timbrally and/or registrally disjunctsion (alternating groups of types "D"
sets are themselves partitioned into and "A") and motivic material. It
various hexachordal types by the
also incorporates noise-related
assignment of iterative characteristics
sounds within two retrograde-related
pizzicato sections. These textures are
within the piece to selected elements
skillfully combined with the main
of each set. Exceptions to the above
material at the close of the move-
can be noted: iteration is not applied
to any element of the pizzicato- ment (Ex. 1).
projected set. Also, one. of the setsThe motto (P:a indicates that what
projected by harmonics is an "120"
follows is the first segment a of prime
type due to a substitution made to P; this segment consists of D#,
.set
acquire a specific combination G,ofB, A, C-i.e., ri, sol, ti, la, do) first
pitches for a double stop; thisoccurs
is as a connective between I and

SThe terminology employed is that explaihed in the composer's article, "The

Source Set and Its Aggregate Formations," Journal of Music Theory, Vol. 5, No. 2
(November 1961), pp. 227-229.
a 134

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 COLLOQUY AND REVIEW

II.2 Since it occurs within an "I" articulative solutions which convey

type set, it is accordingly distinct
the intended spirit of improvisation)
from the surrounding music. there
Itsare references to previous
next occurrence is as an introduction movements. These allusions are
to III, a song movement. Finally, in
structurally reinforced, composed o
IV (Cadenza sul Nome) it becomes the
"A" and "D" type hexachords, as op
posed to the "I"-derived material
main element; motto pitches re-
which forms the bulk of this cadenza
ceive emphasis either by durational
prominence or articulative means. (Ex. 2).
Between two sections containing suc-
cessive multiple stops (for which - Brian Fennelly
the composer has provided sample New York University

2 In its initial a5b7 partitioning, the set containing the motto can be referred to either
the 132 (013579) or the L12 (012458) hexachordal types. Both of these appear in the
last movement, the former particularly partitioned 28, the latter primarily partitioned
34 and 43.

a 135 -

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