Helen Gifford: Catalysis (1964)

Abstract

"The composer says: Impetuous rushes characterise the work. These are generated by small tonal groups of notes that are brought into collision with serially organised notes, abruptly propelling the piece along, and firing a series of explosive events. This repeated tonal attack causes sudden surges of movement and changes in momentum as in catalytic action, with splintering fragments oscillating between moments of urgency and tranquillity. The work is densely packed and tightly wrought, relaxing momentarily in the central slower section. Catalysis was written for Sally Mays. I posted the score to her in England and she recorded for me on tape a performance which so completely conformed to my intentions that it almost obviated the need for further performances. The term' catalysis' is defined by the Oxford Dictionary as: '(chem.) Effect produced by a substance that without undergoing change itself aids a chemical change in other bodies'. The process of catalysis in this work is by no means obvious. Aurally it is concealed by pointillist and contrapuntal textures, and a complex language that includes chromatic and whole tone elements, treated with some reference to serial procedures as well as free variation techniques. Perhaps the catalyst is the brief whole tone motive hinted at in bar 7 and stated clearly in the bass at bar 10? Certainly this motive exists throughout as a stable entity, contrasting strongly with the chromatic material that surrounds it (see Figure 12). The substance undergoing change would appear to be the highly dissonant statement of the opening six bars. Diminished and minor intervals predominate in this material, a summary of which is given in bars 1-2 (see Figure 13). As the work progresses, a gradual infiltration of the more stable whole tone elements reconciles the more dissonant intervals. In the coda, the perfect fifth is proposed as a possible resolution of the tension; the tempo is now slow and the mood cantabile: a dramatic contrast to the aggressive tirade of the opening bars (see Figure 14). The piece is in three clear sections, with an introduction and a coda. The first section presents the first variant of the introductory material. The texture of this section is pointillistic and sparse, with mostly semiquaver movement in the two widely spaced voices, and rapid dynamic change. The second section begins with a two bar chromatic descent in which the dissonant intervals of the introduction figure prominently. A more tranquil four part counterpoint follows, in which interweaving parts prefigure the modd of the coda. The rhythmic movement has slowed down considerably voices are less widely spaced and the dynamic change is more gradual. The reappearance of the whole tone motive at the end of this section and at the beginning of the next is significant: a gradual change is being wrought in the material. The motive is heard more frequently and more clearly in this final section; the semiquaver movement of the opening returns in a less abrasive guise, and the material is made more coherent through the use of sustained notes. The transition into the coda with its ethereal trills and arpeggiated chords, hints at some magical process, suggesting perhaps the final fizzing and settling of the chemical solution. Catalysis is a finely crafted piece, developed from clearly established tonal and rhythmic resources. Gifford exploits a wide range of keyboard textures, ranging from contrapuntal procedures to the pointillistic techniques of the post-Webern school. Dynamic rhythms give the work considerable momentum, driving it forward towards its logical conclusion." -- Deborah Crisp