You may have seen New Beginnings, the short film released by New York City Ballet on September 12. It features a moving performance on the 57th floor terrace of 4 World Trade Center at dawn and is intended to be “a testament to the resilience of the human spirit, and a tribute to the future of the city that New York City Ballet calls home.”
The music is Spiegel im Spiegel (mirror in the mirror), written in 1978 by Estonian composer Arvo Pärt (b.1935). Here is a recording of the piece by violinist Nicola Benedetti and pianist Alexei Grynyuk. As you listen, consider how the music is flowing and what effect it has on your sense of time. Is there a process unfolding throughout the piece? Why do you think it’s called Spiegel im Spiegel, or “mirror in the mirror”?
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If you hold a mirror in front of another mirror the reflections become infinite. You probably noticed a similar process happening musically. The violin keeps returning to the pitch, “A.” The piece develops slowly as pitches are added, one at a time in perfect inversions below and above this “A”. Consider how this incremental development influences your sense of expectation.
Spiegel im Spiegel evolves outward, filling up musical “space” and giving us the sense of time flowing through music. This might remind you of the additive process we heard in Steve Reich’s Different Trains in the last “Listeners’ Club” post. In the late 1970’s a handful of American composers such as Reich and Philip Glass were experimenting with minimalism-circular, repetitive music which flowed in a fundamentally different way. Around the same time Arvo Pärt, trapped behind the Iron Curtain and cut off from most outside musical influences, discarded atonality and began writing similar music. Pärt’s meditative minimalism is rooted in mysticism and influenced by early music, especially Gregorian chant.
This episode of the BBC series, Soul Music explores Spiegel im Spiegel and its effect on listeners. Listen a few more times and share your thoughts on the music in the thread below.
[quote]I could compare my music to white light which contains all colors. Only a prism can divide the colours and make them appear; this prism could be the spirit of the listener. -Arvo Pärt. [/quote]
One of my fondest early childhood memories was visiting the Arcade and Attica Railroad for a summer afternoon train ride. Nestled in the rolling Western New York countryside east of Buffalo, it’s one of a handful of places where visitors can get up close and personal with a steam locomotive. Beyond the soot and flying cinders, the sound of a steam engine may be the most memorable aspect of the experience. It huffs, puffs and breaths as if it’s alive. It laboriously chugs up a hill with a persistent rhythm. If you’ve never been close to a steam engine these clips from Arcade, Stockton, California and the Railroad Museum in Strasburg, Pennsylvania will give you some idea.
Swiss composer Arthur Honegger (1892-1955) found musical inspiration in the steam locomotive. Honegger wrote Pacific 231 partly as a musical experiment. His goal was to create music which gave the impression of increasing rhythmic momentum and a simultaneous slowing of tempo. Here is how Honegger described the music:
[quote]I have always loved locomotives passionately. For me they are living beings whom I love as others love women or horses. What I sought to achieve in Pacific 231 was not the imitation of the noises of the locomotive but rather the translation of a visual impression and of the physical enjoyment through a musical construction. It opens with an objective observation, the calm respiration of the machine at rest, the effort of the start, a gradual increase in speed, ultimately attaining the lyrical stage, the pathos of a train 300 tons in weight launched in the dark of night at 120 kilometers an hour. For my subject I selected a locomotive of the Pacific type, bearing the number 231.[/quote]
Listen to Pacific 231 and enjoy the sense of motion and raw energy. Can you feel the pressure building in the opening? Can you hear the train gaining speed, working to get up a hill, slowing at the end of the trip and ultimately finding a final rest?
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Music is all around us-even in our machines. In the eighteenth century composers were influenced by brooks, pastures and birdsongs. By the industrial twentieth century the world had become louder and more dissonant. What kind of music is being produced by our increasingly wired, information saturated twenty first century world?
[typography font=”Cantarell” size=”28″ size_format=”px”]From Chicago to New York[/typography]
Growing up during World War II, Steve Reich (b. 1936) frequently traveled by train between New York and Los Angeles to visit his separated parents. A Jewish American, Reich later realized that European Jews were riding trains to concentration camps during the same years. This realization was the inspiration for Different Trains, written in 1988 for string quartet and tape. Reich constructed the piece around fragments of recorded voices. For the first movement, Reich recorded his former governess and a long retired railway porter reminiscing about the trains of the 1930’s and 40’s. In the second and third movements we hear the voices of Holocaust survivors. Here is a clip of Reich talking about Different Trains.
Listen to the first movement, America-Before the War, performed by the Kronos Quartet. How does the music unfold? Is the motion fast or slow? Can you sense the recorded speech developing in any way? Do you hear anything “musical” or expressive in the voices?
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When I listen to this music I notice that I have a heightened sense of awareness of the moment. I find myself becoming one with the sound. Repeated musical phrases take on a unique power. While Different Trains has a fairly fast pulse, it evolves slowly. Did the music change your perception of time? Did we just turn up the volume on something that has always been there and will continue into infinity? You probably noticed a gradual additive process in the recorded voices. As each fragment is repeated and enlarged, more musical “space” is taken up. The instruments imitate the pitch inflection of each spoken fragment.
Something was in the air in the 1960’s which led Steve Reich, Philip Glass and others to begin writing repetitive, circular music. This new direction in music, known as Minimalism, was partly a reaction to the complexity of atonal or 12-tone music. A similar movement occurred in the art world slightly earlier. Think about the endlessly repeating chorus of your favorite Pop song-anything from Disco and Techno to Phil Collins or Joe Jackson. How are these songs similar in flow to the Minimalism of Steve Reich?
[quote]Time is a train…Makes the future the past…Leaves you standing in the station…Your face pressed up against the glass -U2[/quote]
Zoo Station is the opening track of U2’s 1991 album, Achtung Baby. The song was inspired by Berlin’s Zoologischer Garten railway station and Europe at a crossroads in the early 1990’s following the fall of the Iron Curtain. After a night of Allied bombing damaged Berlin’s zoo during World War II, animals were found wandering freely in the streets amid the rubble. Bono viewed this story as a metaphor for Eastern Europe’s liberation after the collapse of the Soviet Union.
With this album U2 went in a new direction, using recording techniques such as distortion in the drums and vocals. Interestingly, you may be reminded of the additive process of Steve Reich (the opening of the song and around 2:44):
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