[Var. I]

[Var. II]

[Var. III]

[Var. IV]

[Var. V]

[Var. X]

[Var. VI and VII]

[Var. VIII]

[Var. IX]

Module 3 conveys a complex analytical chart to …..sofferte onde serene…. It is intended for practitioners who are studying the piece (composers or performers), and it includes minute compositional details. It is made of four basic elements: (1) a graphic exposition of the score that renders visible the formal sections and subsections of the piece; (2) analytical diagrams focused on pitch and rhythmic structures/reductions; (3) audio recordings (piano alone, without tape) of every subsection; (4) denominations of the sections and subsections according to Luigi Nono (blue) or made by the author of this exposition (orange-red). Together, they allow recognition of some fundamental aspects of the score: (1) Form. A complex imbrication of sonata and variation forms, including an explicit ‘recapitulation’ after the climax, and ten implicit ‘variations’ on an underlying pitch structure. (2) Counterpoint. Use of imitative and canonic processes of writing. (3) Harmony. Use of ‘harmonic fields’, highly recognisable sound-aggregates with additive pitch processes; use of additive chord techniques, adding chords to one another but breaking their identity. (4) Use of rhythmic cells, small units that structure big sequences without serial/numeric controllers.

Module 1 | Historiography

SECTION 5 (Bars 108–155) | (coda)

SECTION 1 (Bars 1–25) | (differential repetition)

SECTION 2 (Bars 26–49) | (first wave)

SECTION 3 (Bars 50–101) | (2nd wave)

M   O   D   U   L   E   3   |   A   N   A   L   Y   T   I   C   A   L      C   H   A   R   T

SECTION 4 (Bars 102–137) | (reprise with 2 disruptions)

Bars 16–20

Bars 11–15

Bars 21–25

Bars 1–5

Bars 6–10

Bars 50–59

Bars 121–125a

Bars 129b–137

Section 2: synthesis (pitch selection).

Bars 50–59: the six chords (and their origins).

Bars 102–112a

Bars 152–155

Bars 26–32 (pitch selection)

Bars 140–151

Bars 112b–120

Bars 125b–129a

[Disruption 1]

[Disruption 2]

Bars 1-25: underlying pitch structure.

Bars 1-25: pitch distribution. 

Bars 1-25: basic rhythmic cells.

Bars 60–73: the fifteen chords and their construction out of the previous six chords.

Bars 33–38 (pitch selection)

CODA – Pitch reduction

Sketch ALN 42.04/02 (Detail)

‘Deciso. Con Pollini’ [ALN 42.12.02/7]

Bars 60–73

1

1

Harmonic ‘progression’ in the ‘variations’ VI to IX

Bars 38–43 (pitch selection)

Canon a 3

Bars 74–85

Basic rhythmic cells

Rhythm of the canonic entries

Bars 43b–47 (pitch selection)

Disrupture/Crisis

Bars 86–96

Bars 89–96 and 97–101

Bars 47b–49 (pitch selection)

During the suspension the tape

quotes from the tape materials from

Como una ola de fuerza y luz (1971/72)

(13:09–14:15)

Como una ola de fuerza y luz (13:09–14:15)

– Evocation of Childhood (niño/niña) –

…..sofferte onde serene… (7:40–8:42)

– tape ‘solo’ –

Ricordo/Memory/Nostalgy

Bars 97–101