Orchestration as Form in Elisabeth Lutyens’s And Suddenly It’s Evening (1966)
Orchestration as Form in Elisabeth Lutyens’s And Suddenly It’s Evening (1966)
Orchestration as Form in Elisabeth Lutyens’s And Suddenly It’s Evening (1966)
Amazing Moments in Timbre | Timbre and Orchestration Writings
by Aidan McGartland
Published: April 14, 2025
A work of haunting beauty and mystery, And Suddenly It’s Evening (1966) is a cantata for tenor and orchestra by English modernist pioneer, Elisabeth Lutyens (1906-1983). The cantata is highly representative of Lutyens’ serialism of the mid 1960s, and is similar to other works of this period, especially The Valley of Hatsu-Se (1965), in terms of scope, the serial structure, lyricism and the approach to orchestration. The evocative poetry of the cantata was written by Sicilian modernist poet and Nobel prize laureate (1959), Salvatore Quasimodo (1901-1968), and translated into English by Jack Bevan in 1965.[i] Lutyens first wrote the work to the English translation, later adding the original Italian (as determined from examining the composer’s autograph).[ii] In this work, Lutyens sets four poems by Quasimodo, each in its own movement, with instrumental interludes on either side of each poem. The cited recording was conducted and sung by Herbert Handt (who premiered the work) with members of the BBC Symphony Orchestra in 1967. In this analysis, I examine how Lutyens creates and demarcates form through orchestrational groupings in her cantata, which alongside pitch serialism, is the main compositional determinant.
Example 1. The row of the entire work
Lutyens created numerous row charts for many serial compositions.[iii] While no charts remain for this work, it is very likely that a row chart was used to generate pitch content throughout. As demonstrated by Example 1, there is an unusually high degree of similarity with the inverted form of the row, not only sharing the same intervals, but also having a large number of shared pitch-classes in close proximity, creating ambiguity between prime and inverted row forms. Due to the presence of the three major thirds and a covert triad in the row, Lutyens is very cautious to avoid create or emphasise triads that would conflict with the overarching atonality of the work. As will be shown throughout this analysis, rows are typically used linearly throughout.
In the preface to the published score, Elisabeth Lutyens outlines the three instrumental groupings in the work showing how she uses discrete blocks as a formal device throughout the work.[v] Example 2 shows the three discrete “instrument groups”: the “coro di strumenti” of mostly brass, the “ritornello 1” of mostly percussion, and the “ritornello 2” of mostly strings.[vi] Notably, each “instrument group” has a coherent timbral blend described in Example 2. Ritornello 1 is mixture of bell-like percussion instruments, celesta, tam-tams, cymbals, gongs and triangle, alongside the harp. However, whilst each group essentially aligns with a different instrument family, there is an anomaly. The brass-dominated “coro di strumenti” consists of 2 trumpets, 2 trombones, peculiarly with a double bass, while ritornello 2 consists of violin and cello and is offset with a French horn. Lutyens appears to have “swapped” the double bass with the French horn, as they are the outliers of their respective instrument families, the double bass being a relic of the viol family (and not the dominant violin family), whilst the French horn typically has a warmer timbre, originating as a natural hunting horn, in contrast to other brass instruments. Nonetheless, there is still an audible blend within each section. Each instrument group is described in Example 2 with a number of timbral descriptors based on my perception which closely aligns with the comprehensive study by Lindsey Reymore on timbral semantic descriptors of a variety of instruments.[vii]
Example 3. Form of entire work with color-coded instrument groups (slash indicates overlapping rows and brackets indicate row fragments)[viii]
Example 3 illustrates the outer form of the entire work showing the patterning of the instrument groups that surround each poem, as well as describing the texture and a complete list of tone rows. It is worth noting that throughout the work as a whole, the texture is typically rather sparse. Most pertinently, Example 3 illustrates the clearly defined instrument groups that create distinct orchestrational blocks, largely without overlap, sonically highlight the form of the work, which alongside the texts and pitch serialism, creates the overall form. The role of orchestration in the form is further emphasized by the composer’s labelling of movements by instrument group, such as “Ritornello 1” (see Example 3).
This technique of discrete blocks of instruments is reminiscent of the Stravinskyan block style of composition, found in some of Stravinsky’s later works, such as Requiem Canticles (1966) where the instruments are often segmented into groups by family, such as strings only “Prelude” and the brassy “Tuba mirum.” Joseph Straus labels Stravinsky’s technique as “arranging the blocks,” and illustrates how it is simultaneously a serial and textural technique.[ix]
Another pertinent feature is the allusions to the past in Lutyens’ formal terminology, notably “ritornello” and “antiphon.” This is likely in response to the anachronistic imagery of Quasimodo’s poetry, including “Almost a madrigal…”[x] However, the term “ritornello” is used as a label for an instrument group, which then denotes formal sections. Lutyens appears to employ a pre-concerto usage of ritornello, in its literal and original meaning, as a sectional return.[xi] This aligns with an astute observation from noted conductor, Antony Hopkins, who compares the work to the “canzonas… [with] the alternation of voice and brass” of sixteenth century Venetian composer, Giovanni Gabrieli,[xii] adding to the italianità of the work.
Example 4. Tenor solo in section 4 (p. 26)
In many serial works, especially those of Elisabeth Lutyens, there is what I term a “row statement.” This is where the row of the entire work is clearly presented in a single instance without any or little anomalies (such as a repetition, re-ordering or overlap) or interruptions and often forming a single phrase, highlighting the serial structure to the analyst and is often audibly apparent. Example 4 illustrates a textbook example of the row statement of this work, illustrating the prime form of the row uninterrupted with little repetition, and no reordering nor overlap. Here the row statement is set for tenor solo without accompaniment, creating a markedly exposed sparse texture to demarcate this section, allowing the haunting and breathy timbre of the tenor in this recording to shine through. Additionally, this row statement emphasizes the composer’s lyrical approach to serialism, with the row corresponding to a line of text, demonstrating the “rows-as-melodies” technique associated with Luigi Dallapiccola. Notably, P9 fits into the range of an octave, without any compound or large intervals, making it idiomatic for the human voice. Interestingly, immediately after P9, I9 is heard, showing the overlap between prime and inversion row forms, the two rows sounding much the same to even the most attentive listener (as discussed in Example 1). This row statement coincides with the last vocal line of the work and the climax of the poem: “and suddenly it’s evening.”
Example 5a. Opening ritornello 1 (p. 1), echoes shown by brackets around row order numbers.
Example 5b. RICH
The work opens with “ritornello 1” that consists of an array of resonant percussion, celesta, and harp. This in turn creates a variety of bell-like ringing sounds that characterize this excerpt (Example 5a). This evokes a sonic exoticism that was in vogue in the 1960s, with many modernist composers looking beyond Western art music for inspiration.[xiii] This whole first movement is comprised of only two rows, P9 and RI5, that are linked by retrograde inversion chain (RICH) with a shared B-D♯ dyad (Example 5b).[xiv] P9 is fragmented into linear segments (1-3; 4-7; 8-12) that is then repeated and echoed (indicated by the pp dynamics in m. 6), whilst RI5 is highly verticalized into discrete tetrachords (1-4; 5-8; 9-12). These “echoes”[xv] are a key technique of Lutyens in this work. Notably, the echoes are both a serial device, by repeating row notes, and a timbral device by using dynamics to repeat a sound with a softening dynamic and evoking a more distant sonic position. At the end of this example, there is a grand pause where the echoes of these resonant percussion instruments are left to ring, followed by a clave strike that signals the end of this first section.
Example 6a. Opening of Ritornello 2 (p. 13)
Example 6b. Retrograde symmetry of Ritornello 2 (each bracket indicating an R transformation)
Symmetry is an important device used throughout. Example 6 shows the use of exact retrograde symmetry between the two halves of this short movement (of approximately 1’20”seconds). The symmetry is created by retrograding the first half as a whole, RI4-P5-P0, as well as retrograding each row fragment (that is used to create row blocks) to create R0-R5-I4 (Example 6b). Whilst the listener will probably not perceive the serial structure here, one can clearly hear the music “moving backwards” in retrograde (as the intervals move backwards through the series) that results from the underlying serialism, which is in part due to the pronounced pause at the point of symmetry. Retrograde symmetry is a favourite technique of Anton Webern, who was a major influence on Lutyens during the late 1930s.[xvi] Importantly, this retrogradation creates serial and orchestrational symmetry, as the movement is literally mirrored, ending with the same gestures on the same instruments that the movement began with.
Turning to the orchestration, ritornello 2 has the potential for overlapping held notes, creating a stark contrast to the attack and decay articulation of ritornello 1. In Example 6a, each instrument is muted, including the horns, illustrating the composer’s equation of horn and strings mutes. The muting creates a softer dynamic, reinforcing the pp indication. Additionally, the use of mutes mellows the tone quality of both the horns and the strings, allowing for a warmer, more blended sound that is then reinforced by the textural overlapping lines of each part.
Example 7. Brass chorale (p. 14)
In contrast to the rest of the cantata, the brassy instrumentation of the “coro di strumenti” is largely verticalized creating a chorale characterized by sharp, accented articulation. As mentioned previously, due to the thirds in the row, Lutyens is cautious not to create anything that suggests triads, as shown by the discords labelled in Example 7. This forms a tightly organized brass chorale that envelopes poem 3. The vertical harmonies are created by a straightforward layering technique of the row (without particularly corresponding to row order) and largely occur in the brass chorales of the “coro di strumenti.”
Example 8. Brass counterpoint of mm. 10-17 (p. 14)
Next, I zoom in to examine the brief texturally contrasting passage of dissonant counterpoint between trumpet 1 and trombone 1 (Example 8) before poem 3 “Almost a madrigal...” Both parts have the same row type, R (albeit the trombone is inverted and transposed by a semitone), and the same rhythm, displaced by a quarter note, creating a strict serial canon. Lutyens avoids simultaneous rhythmic attacks, highlighting the independence of the two lines. Interestingly, there are two linear triads, the sharply contrasting C minor and D major (m. 12), that are obscured by the overlapping counterpoint. Overall, this sparser contrapuntal texture creates a different sound from the warmer blend of the brass chorale, instead creating a spikier, drier sound. This illustrates how texture and orchestration work together to create the overall sound in this passage.
This analysis has demonstrated how orchestration groups are used to create form in Elisabeth Lutyens’ And Suddenly It’s Evening, showing a connection between serialism, texture and timbre. From this study, it is clear that orchestration was an important parameter in Lutyens’ compositional process and hopefully more studies will be undertaken to examine the extent of this across her work more generally. In particular, I have attempted to shed more light on Lutyens’ music as a whole beyond solely serial techniques, in order to examine the beauty of the soundworld in this ethereal and evocative work.
References
Harries, M., and Harries, S. (1989). A Pilgrim Soul: The Life and Work of Elisabeth Lutyens. Penguin.
Lewin, D. (2007 [1987]). Generalized Musical Intervals and Transformations. Second edition. Oxford University Press.
Lutyens, E. (1972). A Goldfish Bowl. London: Cassel.
McAdams, S., Goodchild, M., & Soden, K. (2022). A taxonomy of orchestral grouping effects derived from principles of auditory perception. Music Theory Online, 28(3). https://doi.org/10.30535/mto.28.3.6
Quasimodo, S. (1965). Quasimodo Selected Poems. J. Bevan, trans. London: Penguin.
Reymore, L. (2022). “Characterizing prototypical musical instrument timbres with timbre trait profiles.” Musicae Scientiae, 26(3), 648-674. https://doi.org/10.1177/10298649211001523
Straus, J. N. (2001). Stravinsky’s Late Music. Cambridge University Press.
Straus, J. N. (2022). The Art of Post-Tonal Analysis: Thirty-Three Graphic Music Analyses. New York: Oxford University Press.
Talbot, M. (2001). “Ritornello.” Grove Music Online, Oxford Music Online. https://doi.org/10.1093/gmo/9781561592630.article.23526
Scores:
Lutyens, E. (1966a). And Suddenly It’s Evening. [Composer’s unpublished autograph]. Elisabeth Lutyens Collection, British Library.
Lutyens, E. (1966b). And Suddenly It’s Evening. [Published musical score]. London: Schott.
Recording:
Lutyens, E. (2008). “And Suddenly It’s Evening,” Elisabeth Lutyens and David Bedford [compact disc]. World premiere conducted and sung by Herbert Handt with the BBC Symphony Orchestra in 1967. Lyrita. https://www.youtube.com/watch?v=4UumzOIvcuE