JAVS Fall 1998

29

Example 14. Theme I in the third movement, measures 6-9.

movendo 3 L~~ -~

Largamente n ,!

v

v t~t:

v .n

...........--.-:

.~

1.;.

I tspr. W~DIIo

~ f--= A

piulf

.IT

A t~

A ~~

~1

-,

) ~J~I

1'1

- rr· - A

' .. < f

"br~ -

~ ""-' !:T· .._.,

!J· ~·-

.f1 ~ cspr. A ~ bj

~~

3.ffz

j---..1 :F.

J~t

)

. .._., t:

'

.l::o.. b~

~r~ v

--.._., ~.

Example 15. Theme III in the third movement, measures 25-26.

Tempo d' allegro moderato; rigoroso n >

n > ..

>

> >

> >

Many of the same dissonances in the first movement also occur in the third (examples 14 and 15). Yet the tension is condensed and intensified. Also, the excerpts taken from themes I and II are greatly short ened and end without resolution. CONCLUSION According to Rochberg, in reaching the apex of renewal, composers must use all available resources. The result would be eclectic; it would draw upon the fullest use of human imagination. Here is Rochberg's formula for renewal: Translated into practice, this would mean the use of every device and every technique appropriate to its specific gestural repertory in combination with every other device and technique until theoretically all that we are and all that we know is bodied forth in the richest, most diverse music ever known to man, ars combinatoria. 14 Regarding Rochberg's utopian ars combinatoria music, is it possible to create a music with all these pa rameters? Has the music of Rochberg led us to this Utopia? Rochberg's works do evoke past melodies, harmonies and forms which are integrated with contemporary devices. And his writings and music have inspired many to support a renewal of music. To this end he has reached his goal.