A Modernist Orchestration of Handel’s “Ah! Whither is she gone!”
by Yongdai Yan
Introduction:
Thinking of the relationship between 1920s and Semele, first thing comes to my mind is the music ---- the orchestral sound of 1920s. Early 20th century was the beginning of music modernism. Stravinsky, Schoenberg, Webern, Prokofiev, and so many other modernist composers were exploring new possibilities of music and pushing the boundary of art. All these remarkable modernism composers formed a unique vibe of music comparing back to the history. Music was embracing extreme dissonances that people had never been used to listen to. Music was played by extended techniques that no performers had been trained to play in those ways. Composers were using all cultures’ tunes and modes to compose. Therefore, 1920s music is definitely the voice of modernism.
In this orchestration of Handel’s Semele Act 4 No.66 “Ah! Whither is she gone,” I have connected Semele and “1920s” through orchestration by using the voice of modernism in order to show how “Semele” would actually sound like if it was composed in 1920s. The original, Handel’s version of Semele, music is only for a string orchestra with a harpsichord. In the first section, from measure 1 to 11, I chose a neoclassicism style to orchestrate the beginning. The orchestration is very standard, but with few adaptations in the percussion section. Bass drum, tam-tam, and a bigger percussion group is always the voice of modernism (huge percussive sounds). Due to this scene is sang by Jove, I decide to have a bigger brass section, including four voice lines for horn section (totally 16 horns) in order to bring the divinity of Jove. In the second section, from measure 12 changed the rhythm and completely changed the harmony in the cadence area. Firstly, the speed of the music remains the same (harmonic rhythm) from measure 12 to 20, but the sub-division is totally different. The original quarter note now equals to three eighth notes with triplet. The technique I am using is called Metric Modulation. With the new sub-divided rhythm, I added polyrhythm meters circulations (two 7/8 and two 5/8 rotation) and syncopated ostinato rhythm to create a new texture for this part. In short, the melody and harmonic sound the same as original, but the texture is completely different. The texture I am using here is very much inspired by Stravinsky’s Petrouchka and Rite of Spring. From measure 21, I changed everything, including harmony, rhythm, and melody. I have been using cluster chords and polychords to extended the feeling because Jove knows Semele will die in a minute. These harmonic sounds are very modernism in particular. Stravinsky, Schoenberg and others would all use these dissonance harmonies in their pieces. Besides, multi-tonguing for brasses would sound exactly modern in measure 25 and so on. Overall I hope this 1920s style orchestration of Semele would give you a brand new understanding of this opera. The extension in texture and harmony really enhance the feeling of Semele’s dramatic death.
