1

Hermeneutic analysis on Sicut Umbra by Luigi Dallapiccola

Seong Lee
1. Introduction
Sicut Umbra (1970) is one of the last pieces Luigi Dallapiccola (1904-1975) composed.
in which he combines twelve-tone technique and a free approach to aggregate completion1. In
addition, Dallapiccola is known for incorporating diatonic harmonies in his twelve-tone
technique, notably in Quaderno Musicale di Annalibera. In Sicut Umbra, implications of
diatonic chords and scales can be observed, and these have strong connections to the text of the
piece. This essay will examine how the text is supported by the row, vertical chords and visual
symbols (constellations) in the piece.
Dallapiccola chose the three poems for Sicut Umbra (mov. II, III, IV) from the book
Piedra y Cielo (1918) by Juan Ramon Jimenez (1881-1958). Jimenez was a Spanish poet who
received the nobel prize in 1956. His poems were heavily influenced by the French symbolist
movement2. Arthur Rimbaud and Rabindranath Tagore were Jimenezs most influential poets.
From Rimbaud, Jimenez learns symbolism, and from Tagore, he learns mysticism. When using
symbolism and mysticism, Jimenez was aware of divergent emotional reactions from the same
thing3, and that a Single part of reality is infinite in aspects, never completely
comprehensible. In Segunda antolojia poetica, #440, Jiminez notes the immense difference
between the lighthouse sending forth its beam at night and the sad brick tower it becomes in
daytime. Walter Pattison, a Jimenez scholar states that the nature of his poems is the interplay

1 Kennedy, Steven Alan. 1990. On looking up by chance at the constellations: Luigi Dallapiccola's Sicut
umbra.,
2 ngel Manuel Aguirre. Juan Ramn Jimnez and the French Symbolist Poets: Influences and
Similarities
3 Pattison

between the poet's soul and reality, a flash of comprehension, a moment of ecstatic oneness with
some natural beauty, wave of emotion disclosing the essence of something.
Jimenez was heavily influenced in translating Rabindranath Tagores poems into Spanish
between 1915 and 1922, in which Piedra y Cielo was written. In Fruit-Gathering (II) Tagore
writes: Now at the end of youth my life is like a fruit having nothing to spare, and waiting to
offer herself completely with her full burden of sweetness. While in Piedra y Cielo, Jimenez
writes: Now all my fruits are in my granary. What a joy with each day to try out a new one....
how pleasant the refreshment of my maturity!4. From this, Graciela Nemes argues that Jimenez
values inner beauty more than the looks. This also matches the principles of French symbolism,
which seeks the hidden meaning in the objects.
In regards to mysticism, Jimenez uses and prefers nature in his poems over mankind. To
understand this, it is important to know his early life. At the age of 19, Jimenez lost his father,
which led him to depression and was sent to Paris (where he had an affair with his doctors wife)
then to Madrid (at a Sanatorium run by nuns) to be treated for his mental illness. While at the
Sanatorium, Jimenez wrote many erotic poems about nuns which were eventually discovered and
led him to be expelled from the facility. Like his influential poet Arthur Rimbaud, Jimenez leaves
the catholic church. Pattison states that In a general way the realities Jimenez prefers are, in
order of descending importance, nature, man-made things, humanity, and individuals5. As the
title of the book suggests, Piedra y Cielo contains elements of nature.

4 Graciela Nemes. 1961. Of Tagore and Jimenez. 322

5 Pattison

Table 1: Poems
El Olvido (poem #114)

Forgetfulness

Olvido, hermoso olvido,

libertador final
de nuestro nombre puro,
en la imajinacion del tiempo feo!
Hombres, hombres, hombres, ay!Oh, venideros dias,
en que el alma, olvidada con su nombre,
habra estado, en si, en todo,
y no estara, con otro, en nada!

Forgetfulness, beautiful forgetfulness,

final liberator
of our immaculate name,
in the imagination of an ugly time!
Mankind, mankind, mankind ah!Oh, future days,
in which the soul, with its name forgotten,
will have been, in itself, in all,
and will not be, with another, in nothing!

Recuerdo (poem #9)

Memories

Come Medanos de oro,

que vienen que van, son los recuerdos.
El viento se los lleva,
y donde estan, estan,
y estan donde estuvieron,
y donde habran de estar
Medanos de oro.
Lo llenan todo, mar
total de oro ineffable,
con todo el viento en el
son los recuerdos .

Like golden sand-dunes,

that come and go, such are remembrances.
The wind carries them away,
and where they are, they are,
and they are where they were,
and where they ought to be
Golden sand-dunes.
They permeate all,
absolute sea of ineffable gold,
with the wind ever present...
such are remembrances.

Epitafio ideal de un marinero (poem #67)

Ideal Epitaph for a Sailor

Hay que buscar, para saber

Tu tumba, por el firmamiento.
Llueve tu muerte de una estrella
La losa no te pesa, que es un universo
De ensueno
En la ignorancia, estas
En todo (cielo, mar y tierra) muerto

We must look, if we want to find

your grave, overhead in the sky.
Your death rains from a star.
The tombstone is light upon you,
for it is a dream universe .
Unknowing, you dwell
in all- sky, sea, earth-dead.

The two main themes in the poems are death and memory. Jimenez scholar, George Cornelius,
states that Death is the final enemy of the soul which Christ overcomes in Rev. 21:14. Death
becomes an important theme in Piedra y Cielo as an enemy to be overcome.6 These two themes
form a polarity, as one most likely loses all memories when he/she dies. The first poem, El
Olvido describes the opposition between death and memory, as forgetfulness ultimately
represents death. The second line of the poem confirms this with final liberator. immaculate
name then, represents ones soul (which occurs in line 7), or inner beauty that is possibly being
tormented by an ugly time, or mankind. Indeed, mankind is repeated three times in the
following line. In this fashion, the future days could be interpreted as afterlife, where the souls
name is forgotten. The ending of the poem, nothing suggests that this poem is indeed about
death. However, the use of future tense suggests that death has not happened yet. Both death and
memory find their places in the first poem, as the protagonist prays for the final liberator to
come and erase all the memories, particularly the negative ones (mankind, mankind,
mankind...ah!).
The next poem, Recuerdo appears to be about memories, from looking at its title. However, the
poem starts with golden-sand dunes instead, which Jimenez uses as an analogy for
remembrances. Golden-sand dunes as an imagery could be interpreted as a symbol for death, as
life-forms can be hardly found in deserts. {insert death-drive here? human body becoming
sand?} When memories come and go, this can mean that life-forms are being born and dying.
In lines 3-6, the pronoun they can be substituted by virtually anything--including lives or men,
especially amongst the topic of death. Likewise, they in line 8 could be substituted by afterlife.
Afterlife may indeed permeate all after one becomes a bodyless soul or a ghost, and absolute
6 Cornelius, George S. 1987. Juan Ramn Jimnez: psyche and symbol in the Diario, Eternidades, and
Piedra y cielo., 355

sea of ineffable gold sounds too romanticized or unreal to be happening in the real life. This
poem could be interpreted as describing the connection between death (golden-sand dunes) and
memories (remembrances), which are opposites.
Another interpretation of Recuerdo is to treat the memories that come and go as a sign
of slow and lingering death, where a person slips in and out of conscious. Jimenez understood
the different meanings that a symbolism can have, and it is up to the audience to interpret his
works in various ways. In this interpretation, the poem describes the pain and agony of lingering
death. For a dying person, remembrances would actually permeate all, as he can look back to his
past when he was young and healthy. Since it is agonizing to be dying slowly, the ego may be
looking back to his past, where everything is permeated.
In the final poem, Epitafio Ideal de un Marinero, the protagonist dies, as this is the first
time when the word death is mentioned. Sky in the second line may be interpreted as a
symbol for an ideal death, as it is associated with heaven (opposed to underground, or hell). This
poem is almost entirely about the nature, which symbolizes the dead body becoming the nature
itself.
It appears that Dallapiccola chooses to present the poems in a chronological order, from
embracing the death (El Olvido), in between death and life, or lingering death (Recuerdo) to
afterlife (Epitafio Ideal de un Marinero). In this order, nature occurs more frequently toward the
end, where human body forms a union with the nature. Likewise, the opposition between
memory and death becomes less apparent toward the end. Dallapiccola certainly treats death and
memories as oppositions. Memories are set to music with more tertian chords and phrases, while
death is set to music with more chromatic phrases and dissonant chords; notably with interval
classes 1 and 6.

2. The row

Ex.1, the initial appearance of the row (P1), mm.1-2

The row consists of a lot of interval classes 1 and 6; notably in the beginning of the row.
The portions of the row with ic-1 and 6 stand out against other portions, representing the polarity
(death and memories) in the poems. In the first measure of the piece, Dallapiccola clearly
presents the oppositions with the chromatic (012) trichord followed by dominant 7th chord
implication.

Ex.2, polarity observed in mm.1.

Here, Dallapiccola has to tweak the row so that he can achieve the A7 chord in the second
half of the measure. Order numbers 1, 4, 5 and 7 are sustained or emphasized to form the A7
chord, as the dominant 7th chord cannot be achieved by the P-form of the row. However, order

numbers 3-5 can be interpreted as a half diminished 7th chord, and numbers 9-11 form a
diminished triad.
The polarity between chromaticism and diatonicism can be confirmed in beginning of the
second movement (mm. 13-18). This is the first entrance of the soprano; where the first line
contains a polarity. It translates as: Forgetfulness, beautiful forgetfulness, final liberator....
Forgetfulness is associated with memories; while final liberator represents death. When the
soprano sings forgetfulness, beautiful forgetfulness the music implies tertian harmonies
(reminiscent of older music) but when she sings final liberator the music becomes highly
chromatic.

Ex.3, mm.13-18, polarity in the 2nd movement

Measures 14 to 16 clearly contain some tertian harmonies, and the use of an I-form of the row
helps in creating diatonicism. The order numbers 3-5 of the I-form can be interpreted as

dominant 7th chord, while order numbers 9-12 can be interpreted as a triad with an added flat
2nd degree.
When Dallapiccola wishes to emphasize certain intervals, he repeats certain parts of the
row. For example, in the third movement, Dallapiccola often repeats the first 3 pitch classes of
the P-form to emphasize ic. 1, specifically the set class (012).

ex.4, mm. 57-60, Flute phrase

In the third movement, the Flutes (in C and G) never play the row form without some kind of
alterations when the soprano voice is not present. This makes the music highly unpredictable in
its pitch content as well as phrase durations. Like other pieces written in the 12-tone technique,
Sicut Umbra contains a lot of phrases containing 12 notes, but the third movement is unique with
unpredictable phrase lengths.
In fact, the repetition of certain parts of the row is a text-painting in the third movement.
The beginning of the poem reads: Like golden sand-dunes, that come and go, such are
remembrances. The set class (012) is highly emphasized with the repetition in the beginning of
flute phrases, and it comes and goes throughout the third movement. In addition, there are
multiple occurrences (mm. 61-64, mm. 68-72, mm. 89-95, mm. 124-127) of trichordal arrays
made of only (012)s.
In the second movement, there is a section where the music behaves like third movement.
Here, the soprano sings Oh, future days, in which the soul, with its name forgotten.., and

indeed, the Soprano repeats the order numbers 1-3 in quintuplet rhythm, just like in the third
movement. Then, the trichordal array of (013) follows the soprano phrase. Although this
trichordal array is made of the set class (013) rather than (012), it should be considered as a
foreshadow of the third movement because of the text (future days) and it is the only
occurrence of a trichordal array in the second movement.
The second movement contains a tetrachordal array which is used to create the dramatic
climax. In mm. 24-26, a series of the tetrachord (0167) is used to accompany the soprano voice,
which sings in Fortissimo. The tetrachord (0167) emphasizes ic-1 and 6, which represent death in
the work. Here, the soprano sings Mankind, Mankind, Mankind ah!, in which mankind is
used as a negative connotation. The pitch content of the soprano line emphasizes ic-1 and 6 as
well, singing the P-1 row but with order numbers 5, 6 and 10 omitted. Omitting such order
numbers make every note of the phrase a part of dyads in ic-1 or ic-6. The omitted numbers 5,6
and 10 can be found in the instrumental parts, but they are separated from the vocal line.
The fourth movement also contains a number of phrases and motives that are not part of
the row, but these are visual symbols that Dallapiccola is known for in other works such as
Cinque canti (1956) and Concerto per la notte di Natale dellanmo (1956)7. These visual
symbols form the shapes of constellations, which will be discussed later in the essay.
3. Vertical chords
Vertical chords play an important role in supporting the text in Sicut Umbra. Dallapiccola
depicts death with more dissonant chords, and memories with more tertian chords. The third
movement is a great example of this with its title recuerdos (memories). The poem contains
two occurrences of the word recuerdos in the lines 2 and 11. The rest of the poem is not
7 Ahn, Sun Hyun. 2004. Musical language and formal design in Dallapiccola's Sicut Umbra. College Park,
Md: University of Maryland. http://hdl.handle.net/1903/1526., pg6

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directly about the memories, but it is about the golden sand-dunes. In fact, the word oro
(gold) appears more frequently (3 times) than the word recuerdos. The golden sand-dunes
are used as an analogy for memories but Dallapiccola uses more dissonant chords to portray the
gold sand-dunes while he uses more tertian chords to portray the word recuerdos.
I have previously argued that ic-1 and 6 represent death while tertian chords represent
memories. However, in the third movement, Dallapiccola chose to create the polarity between
the analogy of the memories (golden sand-dunes) and the actual memories (recuerdos). With no
direct mention of death in the poem, this is the only option of creating polarity in this movement.
Thinking of visual symbolism, the golden sand-dunes may recall death rather than memories.
In the desert, one cannot easily see living creatures, but may suffer from loneliness and the
burning temperature.
Most of the third movement is very dissonant sounding, with the set class (012)
emphasized, as discussed earlier. The two occurrences of the word recuerdos are set to music
with implications of diatonicism. The first of these occur in mm. 84.

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ex.6, showing the implications of diatonicism in mm. 80-84.

Clearly, this phrase becomes more consonant toward the end, where the word recuerdos
occurs for the first time in the poem. Soon, the dissonant sounding trichordal arrays made of
(012) follow in mm. 89-95, and the music is back to depicting the other end of the polarity:
golden sand-dunes. The other occurrence of the word recuerdos is at the measure 130, where
the music appears to imply G minor.

12

ex.7, showing the tertian chordal implications in mm.129-132

Here, every note that the soprano sings belongs to G minor. Vertically, there is a strong
implication of iio7 in m. 131 that resolves to tonic (it is the G triad with split third) in the
following measure. Not only these two occurrences of the word recuerdos have tertian chords
accompanying them, but they also appear to be establishing key areas. These moments can be
interpreted as a reference to music of the common practice period, thus supporting the text
recuerdos. While most of the third movement emphasizes the (012) trichord as well as the

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interval class 6, the two instances of the word recuerdos are accompanied by tertian harmonies,
maintaining the polarity.

4. Topics
There has been some scholarship of pitch motifs and intertextuality in Dallapiccolas
music, especially in his opera Ulisse. Brian Fearn states in his book:
It is clear that, having spent more than a decade so absorbed in the
composition of his opera Ulisse, Dallapiccola was unable to escape from the
shadow of the opera when he composed Sicut Umbra (like shadow). The
presence of the opera is felt through the image of the sea which occurs both
in the second poem (El recuerdo) and in the third (Epitafio ideal de un
marinero). At both of these points (mm. 116 and 182), the three-chord Sea
leitmotif that had opened Ulisse is quoted. The row upon which Sicut umbra
is based begins with the three tones that had formed the Question motif in
Goethe-Lieder, in Three Questions with Two Answers, and in Ulisse, and this
provides a further link with the opera. Indeed, one might legitimately regard
the final song of Sicut Umbra, with its evocation of the sea as a fit tomb for a
sailor lost at sea, as an epitaph for Ulysses himself.

The sigh motif can be found all over the piece, notably in the fourth movement, and it is
one of the elements that differentiates the movement from the previous movements.
Traditionally, the sigh motif has represented sorrow and death. Of course, in Sicut Umbra, the
sigh motif represents death, and the symbolism is supported by the motifs interval content--ic.1.
The first instance of the sigh motif in the fourth movement is in the Violoncello, m. 173.
Then, the voice has it in mm. 182-184. In m. 190, the Bass Clarinet has the motif, then it is
transferred to the Clarinet in A with its long trill. These sigh motifs can be observed in the first
movement as well, in measures 3 and 8, and they foreshadow the 4th movement.
In fact, the first movement contains elements of all proceeding movements. The first
three measures resemble they second movements vocal entrance, where (012) is followed by a

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dominant 7th chord. The flute (C) part in m. 4 is a direct reference to m. 171 of the fourth
movement. Measure 9 contains the same pitch classes as the string parts in m. 100-103 of the
third movement. Thus, the first movement could represent memories. (This needs to be
somewhere else)
In the third movement, visual symbolism could be observed, starting at m. 61. Here, the
three Clarinets play the (012) trichordal-arrays, and the horizontal lines of these trichords can be
interpreted as the visual description of the sand-dunes that come and go. Visually, these short
lines that go up and down look like sand-dunes in the desert. Also, it can be interpreted that the
short (012) lines are a series of sigh motifs.
Likewise, the fourth movement contains passages that look like waves. The first instance
of this at m.141 in the wind instrument parts. In mm. 145-146, this rising then falling motion
could be observed in both winds and string parts. After m. 185, the waves appear stacked on top
of another, depicting the storm-raging sea. This interpretation of rising then falling arpeggio as
waves of water is similar to Wagners Leitmotif of nature and water.

5. Second movement (El Olvido, the forgetfulness)

The second movement starts with a homophonic texture, which is a strong contrast from
the first movement, where the texture was largely polyphonic. The music in the second
movement appears to have forgotten the polyphonic texture of the first movement, supporting
the title of the movement. In addition, the Flutes completely drop out in the second movement,
and the second movement is performed only on the instruments that have not been used yet. In
this movement, it can be observed that Dallapiccola uses the groups of instruments similarly to
Giovanni Gabrielis consort of instruments. The strings start (mm. 10-11) then trades off with

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Clarinets (m. 12). This movement establishes an expectation of adding new instrumental
consorts in the future movements. This expectation will be one of the most important factors in
driving force or development of the entire piece.
Another different element in the second movement is the interval content of the
horizontal lines because the row is used vertically to make chords. While the first movement
used the row only horizontally, the first three numbers of the row are used to form the first chord.
The three string instruments in the first two measures only have leaps which is a contrast from
the first movement where a lot of the stepwise motions could be found. While the first movement
started and ended with the (012) trichord in close-positions, measures 10-14 disguises the closeposition of the (012) trichord by having horizontal leaps and large vertical space (between viola
and cello; clarinet and bass clarinet). The row itself is harder to hear in the second movement
because of the texture and larger instrumentation, as if the row itself had been forgotten.
However, the row is, of course present in the movement, and it could be interpreted that the ego
is still haunted by the past memories even though he thought he had forgotten them.
As discussed earlier (pages 7-8), measures 14-16 contains tertian harmonies with added
notes, while measure 17 and thereafter the music becomes highly chromatic, supporting the text
libertador final (final liberator). Here, the (012) trichord of I-11 row in m.16 is repeated in
m.17, literally liberating the music from the strict 12-tone technique. Also, the overall texture in
mm. 17-19 appears to be freed up compared to the beginning of the movement where the strict
homophonic texture was found.
In measures 20-23, increased harmonic tensions could be observed, and this is also the
first instance of outside-row pitches (Ahn 66). From 3rd beat of m. 20 to m.22, the Violin and
Viola play in minor 9ths, which had not been observed in the piece yet. The parallel minor 9ths

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creates particular dissonant but playful quality, which could be a musical representation of the
text en la imajinacion del tiempo feo (in the imagination of an ugly time). As a listener,
measures 20-22 would be a shocking moment with parallel minor 9ths (ugly time) with
outside-row pitches (imagination). In a piece that is based on a row, hearing outside-row
pitches can be interpreted as an imagination. The parallel minor 9ths help bringing the
attention of listeners to the instrumental lines, as if they are saying Im playing outside the row
here!. The vocal line in mm. 19-23 however, outlines the P-4 row with some repetitions of some
pitches, staying relatively pure (puro in the libretto) compared to the instrumental lines.
When the Soprano sings the text puro, the strings have tremolo which could be opposite of a
pure sound. This could be interpreted as either a poetic irony or emphasizing the ego
(Soprano)s pureness despite the ugly time (tiempo feo in the libretto).
As discussed earlier (pages 9-10), the Soprano voice sings the P-1 row while instruments
have three (0167) tetrachords in mm. 24-27. The instrumental lines had been playing outside-row
pitches since m. 20, but the terrible human nature (hombres in the libretto) brings back the
egos past memories that he wanted to forget. In measure 28, the instruments return to playing
in the row forms.
In mm. 28-37, the instruments even bring back the canonic texture from the first
movement. As it brings older materials, the mankind (hombres, mm. 24-27) appears to be a
huge set-back to the development of the piece, which is in-line with Jimenez preference of
nature over mankind. Unable to forget the memories (the row and the canonic texture), the ego
now looks ahead in the future, with Oh, venideros dias (Oh, future days). The quintaplets in
m. 31 is a foreshadow of the succeeding movement, hoping that the future comes soon. The ego
now realizes that the only way to truly forget his memories is to die. The row will always be

17

present until the rest of the movement, but it would ultimately be forgotten at the end of the
entire piece. The end of the second movement suggests gradual disappearance of the row itself,
as the I-10 row in mm. 45-48 is missing members 5 (E) and (B). The two missing notes from I10 row are found in the piccolo Clarinet and the Bass Clarinet lines, held over from the previous
chord that was part of RI-0 row. However, a listener may still notice the lack of the entire row
form in mm. 45-48, especially when the sustaining notes are marked PPP.
Like the poem, the movement disappears into nothing (nada), in terms of dynamic
markings. However, the act of becoming nothing has not occurred yet, as the text is in the future
tense and it had mentioned the future days. The end of the movement is somewhat peaceful,
with only the piccolo Clarinet present in PPP dynamic. This suggests that forgetting the row is a
positive experience. Overall, the ego in the movement ultimately fails to forget as the title
suggests, in fact, he remembers his past memories. However, he realizes and imagines his
imminent death, which he hopes would be quick and painless, in accordance with Jimenez ideal
death. Of course, what the ego imagines would not necessarily be the unfolding truth in the
future. The movement directly (quintuplets) foreshadows the third movement, as well as
indirectly foreshadows the fourth movement, where the actual death or the disappearance of the
row occurs.

6. Third Movement (El recuerdo, memory)

The third movement starts with the strings with three-note chords, similar to the second
movement. Not only the instruments are the same, the disjunct property of the lines is similar to
the second movement. Measure 57 re-introduces the Flute, which had not been used in the
second movement. Measures mm. 49-60 already suggests a past memory,, in fact, this

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movement is the only movement that does not introduce a new group of instruments. While in
the second movement the ego attempts to forget his memories by using completely new set of
instruments, in the third movement he only uses the instruments that have been used at least
once. Until m. 60, the identification of the row materials is easy, and the ego has no problem
remembering the row. In fact, he appears to try to remember the row, which is a contrast from the
previous movement. In m. 57, the Flute repeats members 1-3 of the P-11 row and then repeats
members 6 -7 and 8-11 of the same row form, as if he could not remember the row in his first try
but is able to remind himself of it after an initial false-start.
Measures 61-64 presents a trichordal array made of the (012) trichords, which could be
interpreted as Clarinets trying to remember the P-forms of the row which the alto Flute is able to
remember in mm. 64-67. Another interpretation is possible too:o, that the Clarinets are actually
thinking about specific parts of the memory as they play the first three members of the P and Iforms of the row. Working with specific parts of the memory, the ego is able to make some sense
out of it (he is still able to complete aggregates with just (012) trichords) but it does not complete
a full picture (the aggregates are out of order vis--vis the row). After another set of false starts,
the ego now remembers the row with the alto flute passage (mm.64-67), confirming that the
movement is about memory, where the row is the complete memory and parts of the row are just
partial memories or attempts and recovering a memory. However, with more trichordal arrays to
come (mm. 68-73, mm. 89-95, mm.125-131), the memory is being fragmented whether the ego
wants it or not.
Like the flutes, the soprano sings the row (m.74), with repeating certain parts. The overall
order of the row is still observed, but the tritone is repeated several times in the first row that the
soprano sings (mm. 74-84). The tritones here support the text visually with its hermeneutic

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association with death, as the soprano sings about sand-dunes in the desert, where life-forms are
hardly found. It is also possible that the ego is thinking about his own death of his own or
someone elses.
Even though the title of the movement is memory,, the text and music suggest a strong
subject matter in death. If sand-dunes represent death with the imagery of a lifeless desert,
almost the entire poem is about death, except for the two instances of the word memory.. In
fact, the poem is still comprehensible with all the occurrences of the phrase golden sand-dunes
substituted by death.
Like deaths,
that come and go, such are remembrances.
The wind carries them away,
and where they are, they are,
and they are where they were,
and where they ought to be
death.
They permeate all,
absolute sea of ineffable gold,
with the wind ever present...
such are remembrances.
With the first passage of the voice, the relationship between death and memory is established.
Fragmented rows (012 trichordal arrays) suggests that the egos memory is slipping away, and
his death is near. With this in mind, the next soprano passage (mm. 96-106) is even more
daunting.
The string tremolo in m. 97 is a text-painting, on the word wind.. String tremolo has an
association with Sturm und Drang, and its harsh sound is appropriate for portraying death. The
tremolo also represents death of memory itself, as tremolo disguises the pitch content, making it
difficult to recognize the row form. At measure 98, the Clarinets take over the texture from the
strings, literally representing the the text the wind carries them away.. The last string chord in

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m. 96 and the first chord of the clarinets in m. 97 create tritones (between Violin and Piccolo
Clarinet; between Violoncello and Bb Clarinet), supporting the idea of Golden sand-dunes as a
metaphor for death. Here, the Clarinets (the winds) carries deaths away.
The soprano line in mm. 100-102 emphasizes the tritone again, on the text where they
are, they are.. Here, the members 4-5 of the P-5 row are taken over by the Oboe from the voice,
depicting the word where in the text. The vocal line also depicts the ubiquitous nature of death
with its disjunct melodies that involves jumping between the vocal tessituras, as if death were in
every register (the vocal line cannot escape it). More visual symbols can be found in the vocal
line, as the word medanos (sand-dunes) is depicted visually by alternating between A# and B,
reminiscent of the wavy sand in the desert. In fact, the (012) trichordal-arrays in this movement
could be interpreted as a visual representation of Mdanos as well. The word oro (gold) in
m. 108 is vibrantly decorated with a melisma, reflecting the visual nature of gold. Also, the first
interval in m. 108 is a tritone, suggesting that gold is related to death. In the context of this poem,
gold is used as a part of the golden sand-dunes in a lifeless desert, but outside of the poem, the
word gold itself could be a metaphor for death as it represents wealth, the and cause ofd many
wars. In addition, the tritone is able to divide the octave into half, representing the perfection and
power that are associated with gold. Measures 116-123 also feature the tritone with the word
gold, followed by a melisma on the word ineffable.
The instrumental chords in this movement always contain IC-1, creating tension in the
harmonies. This is one of the reasons why almost the entire movement is chromatic, except for
the two instances of the word memory.. When the row is divided into 4 parts, each trichord
would contain at least one IC-1, and the vertical chords in this movement reflect this property.
The chromatic instrumental chords are a contrast to the vocal line in mm. 130-138, when the

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pitches of the vocal line are part of the key of G minor. Here, the text contains the word
memory,, hence looking back to the tonal music of the past, but the chromatic instrumental
chords in mm.133-135 disturb the establishment of tonality. However, it is worth noting that in
m. 132, the violin has D and Bb, and with the G in the Violoncello part in the previous measure,
the strings are able to form a G minor chord for a split second before resuming with chromatic
chords. The soprano line in mm. 130-138 could be interpreted asthat the ego is looking back to
the past even though his circumstances (strings) do not allow it.

7. The constellations in thee the fourth movement

The constellations in the fourth movement should be analyzed independently, as it
contains visual symbols (Augenmusik)that are not part of the row form. In his thesis, Steven Alan
Kennedy states that In the fourth movement, constellations are clearly visual, notational
constructions that are closely related to row forms, as will be seen, and yet they maintain an
identity apart from the row.8. The constellations may contain symbolic meanings that may not
be known to an audience with a limited knowledge in the mythology and history behind them.
This chapter will examine the mythology and history behind the constellations and how they
might support the text of the piece.
The movement starts with the constellation Volans,, which is the short form of Piscis Volans
(flying fish).9. This constellation may represent a foreign object or place, as a fish out of water is
not in its natural habitat. Naturally, a fish that remains out of water will die: thus there is an
association between Piscis Volans and death. With the Harp, Celesta and Vibraphone
(instruments that may evoke something of the celestial world) introduced in the movement, the
8 Kennedy, Steven Alan, 3.
9 Staal, Julius D.W. (1988), The New Patterns in the Sky, McDonald and Woodward Publishing Company,
ISBN 0-939923-04-1

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mood is very different compared to the previous movements. Also, the subject matter of the text
has been shifted from recuerdos (memory) of the third movement to death. In many ways, it is
logical to start the movement with Volans.. In addition, the highest three pitches (melody) of
Volans may evoke the (014) motif from Schoenbergs Pierrot Lunaire (1912), movement 8Nacht. Nacht from Pierrot Lunaire and Sicut Umbras fourth movement share the same subject
matter, such as death and night.
While Volans opens the movement suggesting a contrast from previous movements, it is the
next constellation, Cassiopeia that sets the mood and the subject matter of the movement. In m.
140, the first instance of Cassiopeia is played by the Vibraphone. The pitches in the scoreIt
haves a distinct W shape that suggests mysteriousness or hesitation in direction. In addition,
Dallipiccola writes the word Cassiopeia in the score. Symbolically, Cassiopeia represents
arrogance, pain and torture. In the Greek mythology, Queen Cassiopeia was punished and
tortured for boasting of her beauty. The mythology corresponds well with the text of the piece
that contains death, and specifically to the line, Tu tumba, por el firmamiento (your grave,
overhead in the sky). Later in the piece, Cassiopeia appears near this part of the text, in m.149.
In m. 143, Volans appears again. This reaffirms the symbolic meaning of the
constellation: new beginning, or something of foreign land. In the same measure, the soprano
voice enters for the first time in the movement. Here, Volans starts a new section that is voicecentered, and driven by the row (as opposed to constellations that are not part of the row in the
earlier section, mm. 139-142).
The first line of the text translates to We must look, if we want to find, and this is
supported by the next constellation, Columba in m. 148. Columba means dove in Latin, and

23

here, it specifically refers to Noahs dove that was sent from the Arc to look for dry land after the
great flood. Columba supports the text Saber, which means to find.
The four constellations (Cassiopeia appears twice) in mm. 151-155 all support the text
por el firmamiento (overhead in the sky). All the constellations that appear in this section can
become visible year-round, depending on the location. Ursa Major, Ursa Minor and
Cassiopeia are considered the most easily identified constellations in the northern hemisphere.
On the other hand, Triangulum Australe is seen all year-round near the south pole. With
references to both northern and southern constellations, it can be interpreted that the search
(saber) should take place everywhere on the earth. Throughout the piece, Cassiopeia appears in
two different forms (prime and inversion), suggesting different locations or time.
The line Llueve tu muerte de una estrella (your death rains from a star) is supported by
constellations Ursa Minor (m. 154) and Pegasus (mm. 157-159). Ursa Minor contains the
star Polaris, this is the only instance in the piece where Dallapiccola notates the name of a star.
After two measures, the soprano voice enters, therefore una estrella (a star) must be the
reference to Polaris, the 45th brightest star in the sky that is used for navigation. Then,
Pegasus, the flying horse that carried the thunderbolts of Zeus, appears in m. 157. Since rain
carries thunderbolts, Pegasus could be supporting the word Llueve (rains).
In mm. 166-170, the constellations may reveal Dallapiccolas opinion about the egos
death in the poem. Two of these constellations, Andromeda and Cassiopeia are mother and
daughter, who were both punished and tortured. Then, Volans (which symbolizes foreign
object or place) can now turn torture into death. Libra represents the justice, therefore it can be
interpreted that the egos death is justified. George Cornelius states that the ego dies, but it is an
ideal death of the old nature which will resurrect in newness of life The death of the poet will

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also eliminate the phantasizing, the ignorance of self, and open the way to become consciously
aware of the laws which rule the collective unconscious, and by extension, spiritual reality10.
The constellations in this section clearly reflect Corneliuss interpretation, which could be same
as Dallapiccolas.
8. row materials in the fourth movement
The first instance of the row in the movement is found in mm. 143-151, with the R-11 form. Like
in the third movement, the vocal line here repeats and emphasizes the tritone, representing the
word tumba (grave). The word saber (to find) features a long melisma that starts initially
with a minor third (Gb-Eb), enlarges to a fourth (Eb-Ab) then to a tritone (Ab-D). The tritone is
repeated again, meaning that the journey to find something has ended. The vocal line enlarges
its intervallic content until it cannot be augmented anymore (tritone). The tritone can be a symbol
for the grave here.

9. Conclusion
The first movement presents the row form, which the entire composition is based on.
After the first movement, the row form becomes less and less apparent in its original form. In the
second and third movements, Dallapiccola obscures the row, with some order numbers repeated.
Use of the trichordal and tetrachordal arrays can be interpreted as a way to create moments of
surprise and climaxes. The piece develops as it finds more ways to complete aggregates without
going through the row form. In the fourth movement, the constellations are not part of the row
forms. This can be a symbolism for the death of the ego in the poem, as the row forms seem to
fade away as the piece progresses.

10 Cornelius, 387

25

Poem
Juan Ramos Jimenez
(1881-1958)
Leyenda (legend)
Piedra y cielo (stones and sky) (1917-18, pub. 19)
(George Cornelius diss.)
mythic system to the economic, social and political context of the time.

26
Composers Background
Movement 1
-row forms, canon (suggesting old memory),
Written at last.
Measures 1-3=taken from 2nd movement
Measures 4-5=taken from 4th movement
Measures 6-8=flipped measures 1-3, row from movement III
Measure 9= taken from movement 3
Movement 2
-Poem, imagery,
First line- Dominant 7th, beautiful forgetfulness
Second line- chromatic, Final liberator (death???) Liberation from tonality
Third line, begin half steps and tritone leap, but A7ADD4 on puro (before A7ADD4, its stacked
11, responding to name)
Fourth line, begin with c# dim, Dom7, ugly--only human voice
Fifth line, hombres, dissonant chords, melody, IV 1, 6
Sixth line, Future days- quintuplet of the next movement
Seventh line, soul with its name forgotten, leaping voice part, highly chromatic, leaps
THEN, 013 canon, first 3 notes of minor scale. Name: cannon ending on a chord, stacked 11.
Eighth line, entire line is made of stacked 11. I5 stops, incomplete,
nineth line, incomplete I5 row
Movement 3
-disonnant
lots of 012, as chromatic as possible
First line, sand-dunes, vocal melody literally rise and down
Second line, memories: non-stop runs stop. Also, tremolo. In the transition, repeat of mov.3
beginning
Third line, wind--tremolo, stacked 11, m2nds. (The wind--seconds, therefore, intense, dramatic)
Fourth, 5th, sixth lines, m2nds continues, similar text line
Seventh line, golden sand-dunes, m2nds,
eighth line, chromatic line+tritone. They permeate all,
Nineth line, sea of ineffable, quintuplet flute.
10th line, wind ever present, the entire vocal melody only made up of m2nds and tritone
11th line, such are remembrances, reminiscence of g minor.
Movement 4
-Constellations
Inspired by the sky at Aspen music festival
Movement that really connects D and JRJ, both inspired by American things

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Volans, Nacht motif, schoenberg?
First line, We must look--Volans, bird searching for new land
if we want to find-- third, fourth then tritone. Find that tritone, and begins next phrase
Second line, your GRAVE (tritone). M shaped like Cassiopeia. Overhead in the sky (ursa major)
Third line, your death rains from a star, melody mostly made up of tritone and m2
Fourth line also, tritone and stacked 11s
Fifth line, dream, really audible stacked 11s.
Sixthline, unknowing--ignorancia, paired up with Cassiopeia, who is beautiful but arrogant.
You dwell-- Cassiopeia and the instrument used to torture her
7th line, sigh motive, muerto, dead. Sky-Columba, Sea-quintuplet, earth-c# minor-ish, second
movement. After voice ends her melody, first movement-like, up and down appears.
Find more sigh motives.
Page 52, flute, same notes as first movement.
translate all the vocal instruction, or any other instructions
Memory: Tonality?

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Themes:
Nature, Row, Tonality, Constellations, Memory, vocal line leaps.
Prime things to show
11th as cadence. (012) (downbeats of every bar?)
Nacht text. Murdering all memory.
MKlein chopin fourth ballade
Chart of every movement, sections.
Monelle (raymond) Topic
Robert Hatten
Ask Michael Klein, Topic Theory.
Row
Dallapiccola