The Ceremony of Innocence

The Ceremony of Innocence was completed on the 9th September 2000 for the final exams of my BMus degree. the sketches date from November 1999 with the orchestration taking place between 21/8/00 and the 9/9/00. Below is the analysis that I had to submit as part of the examination process.

Analysis:

The concept behind ‘Ceremony’ was found in the Yeats poem, ‘The Second Coming’ which describes the imminent birth of the anti-christ. A particular line from the poem was taken as a starting point for the basis of the whole work: "The ceremony of innocence." Yeats’s poem, in its description is not describing religions failings but, I believe, is blaming man’s nature for this apocalyptic vision. Man is at the mercy of his own doing and therefore, just like the poem was a cry for help in the lead up to World War One, so is ‘Ceremony.’

To help achieve such an end, the words of the Kyrie were chosen that, in the right context can sound like a cry for help. The work is scored for large orchestra to help emphasis the grandeur and pathos found in the poem. .

The music of ‘Ceremony’ was in a more traditional style then that of the other compositions in the BMus folio. The harmony is simple with basic melodic lines balanced with more interesting textures.

The opening (example 1, motif Z), with it loud dynamics and rich textured vocal lines, is designed to emphasis the cry for repentance. The first two chords (Em - C#m) set the tone for harmonic progressions to come as many are based on this minor third relationship and the cycles that can be devised from them. The opening storm is followed by quieter imitative writing ascending to a climax before descending into the first section of the piece.

Section [A] introduces the main motif (example 2, motif Y). This is first heard played by the cellos and violas as an ositinato over a tonic pedal lasting through to the middle of section [C] with very limited transposition. Many of the devices employed by this piece are textural with inspiration coming from scores by John Adams (Harmonielehre). Such textural processes can be seen in this section. The two lines, which when played together form motif ‘Y,’ have been diminished rhythmically to create the accompanying figure heard in the violins (pizz.) and later the woodwind (b36-47). The piccolo part is also derived from this motif. In the small bridge passage that links the Kyrie to the Christe, motif Y is varied slightly as the top line of the motif (violas) disappears (b42-47). To compensate for the loss of one part, the flutes (b42-47) play the surviving fragment backwards. This makes the loss less obvious.

The simple harmonies of this first section ([A]-[C]) and the use of soloists help emphasis the ‘innocent’ aspect of Ceremony.’ It also creates the obvious contrast in texture when the choir restates the theme in section [C].

The theme for the Christe is similar in its simplicity being of scale construction (example 3, motif ‘X’). Significantly, the mode is still minor, again emphasizing the atmosphere of this plea for salvation before the second coming. Textural interest is added at b52 including a counter melody based on the opening motif ‘Z’ (example 4, motif Zii). This counter melody is fanfare like in nature and shall have more prominence later. The parallel chords created by the string and lower woodwind scales (b52) are related to the central motif ‘Y’ by their intervals. The scales start on ‘E’ ‘C’ and ‘F’ moving in parallel motion retaining their initial intervals of a minor 6th and perfect 4th. The relationship with Motif Y can be seen when comparing them to the intervals marked in example 1.

The clusters played by the piano and emphasized by percussion adds more drama, as does their rhythm, which is gradually augmented until section [E]. The ‘Christe’ theme enters a second section [E] in the style of a march. The main theme initially appears new but on closer study, its relationship with motif Zii is noticeable. The trumpet fanfares and percussive nature of the bass all help to emphasis the forward movement felt in this section. The march itself represents the strive towards the birth of the second coming and its relationship with motif Zii helps prevent it from appearing out of place. At section [F] a new variation of motif Z is presented before the orchestra take over pulling the music towards the climax at [I]. The orchestration preceding the climax is gradually thickened to increase the tension.

Section [I] marks the climax of the piece and significantly, the only section in a major key. It is based solely on motif X with rippling textures and ostinato woodwind figures (again based on Adams). The significance of the major key and its preceding extensive build-up is in the hope that seems to go with it after the prolonged minor opening. This section, in its audacity, also contains an element of jubilation that could be interpreted in many ways: either man’s belief of Christ (‘Christ have mercy’) will result in the redemption, or that the hope and celebration is false and in vain: the listener must decide this. After a few imitative entries the cycle of minor 3rds returns (b112-113, Em-Gm-Bbm).

The cycle is completed in b114 with the return of the minor mode (C#) over a ‘D’ pedal. The ‘doppio movimento’ is only for written purposes, as it does not affect the tempo. Tension is added through section [K] with the increasing dissonance caused by the staggered entries of the strings. The notes on which these entries start are important as they correspond with the notes of the top line of motif ‘Y’. Held notes played by the Tuba, trombones and 3rd and 4th horns highlight their entries. Example 5 illustrates the relationship with motif Y. The six notes linked by their stems, relate directly to the top line of motif Y, the boxed note is not an entry but is implied by the 5th entry. The notes with downward tails were added dissonances to help increase the tension. The links to motif Y continue in this section with the timpani at b114 being an obvious link with the top line of motif Y, and the woodwind runs at b118, 123 and 129 created from the notes of the lower part of the motif. Section [K] is also bitonal with the two key centers of Em and D (D being in the strings). Also, the triplet figure played by the strings is polyrhythmic in the sense that the ostinato is repeated in such a way that the strings does not synchronize with each other. The triplet string figure was taken from motif Zii that also dominates [K] from bar 117 (trumpet 1) played at its original speed and in augmentation.

The tension mounts at [L] with a harmonic jump; two pedal notes a tritone apart (E, Bb) form the foundation to the return of motif Y in its original key (Em) in augmented rhythm (brass and later divided strings). At the same time, the strings (b132) play the ‘Christe’ (motif X) in parallel minor chords to emphasis the minor mood. At [M], Em prevails with the re-entry of the choir and returning ‘Kyrie’ (motif Z). The Kyrie follows a similar pattern to the opening but with a modulation to Ebm. There is slight ambiguity as to which is the key center through [N] and [O] (Em or Ebm ?) but a brief trip around the minor 3rd cycle (bars 177-182) finally arrives at Em via a major 3rd ! Motif Z has its final airing repeated with emphasis on the minor third harmony Em – C#m. It is this ambiguous cadence that finishes the piece with the piano clusters and percussion allowed to ring out after the orchestra has finished.