AS Music Understanding Music - Summary of Peter Sculthorpe's Third Sonata for Strings
Peter Sculthorpe’s Third Sonata for Strings, particularly the first movement titled “Jabiru Dreaming,” is a musical journey reflecting his unique Australianist style, influenced by various global elements. The movement begins with a brief introduction in 98, where the viola introduces a chant melody that serves as the primary theme throughout the movement.
The cello plays a significant role, mimicking the clapping sticks found in traditional Aboriginal music from Northern Australia. It maintains a consistent four beats per bar and employs the “col legno” technique, producing a sound resembling wooden clapping sticks. Additionally, the cello plays a minor ninth interval on the main beat, creating a rhythmic pattern derived from transcriptions of digiridu rhythms. The movement is set in a key signature of four flats, frequently utilising the F natural scale, which shapes the harmonic framework. Notably, traditional phrasing and cadence systems are absent, and a pedal note anchors the first section, adding a sense of tonal ambiguity that evokes images of the Australian landscape.
The pedal note can symbolise the geographical layers of the Kakadu region, enhancing the portrayal of its natural beauty. The use of the Kepler notes G and A flat, believed to echo the sounds of Earth as described by the 17th-century astronomer Johannes Kepler, further enriches this connection. The bow glides down rapidly as the cello introduces high-pitched sounds through harmonics, adding depth to the musical texture.
In the subsequent section, the music transitions to a loud F pedal note before tapering into a quiet, staccato call legno. The violins adopt a homophonic style, emphasising the Kepler notes, while this segment is characterised by a slower tempo and less dissonance compared to the previous section. The brief liberant transition evokes the sounds of insects buzzing, presented through a tone cluster of B, C, D flat, and E flat.
The seventh section features a combination of the viola melody, and a Bayin accompaniment played sul ponticello, resulting in an eerie sound quality. The clapping stick pattern shifts to six beats per bar, introducing cross-rhythms that challenge the perception of time. The viola’s main melody now has a slower accompaniment than the first violin, creating a sense of disconnection. The use of sul pont and varied subdivisions of pulse further complicates the rhythmic structure.
In the final section, material from section A, represented by the viola and cello, intertwines with violin parts from section B, creating a rich tapestry of sound as these musical ideas converge.
The second movement, “Liberamente” features a main melody based on an Aboriginal chant. The solo cello in B major plays the introduction, setting the stage for a reinterpretation of the primary theme. This movement includes variations played by the second violin, accompanied by the viola, utilising the Bayin pattern from the first movement.
Overall, Sculthorpe’s Third Sonata for Strings intricately weaves together elements of Aboriginal music, innovative techniques, and rich harmonic textures, creating a compelling narrative that resonates with the essence of the Australian landscape.