Theurgy: Analytical Remarks

Rudhyar's Theurgy for piano (1976–77)—subtitled Tone Ritual in Five Movements— exemplifies an attempt at a musical-ritual utterance, which can “transform the inner life of whoever is open to … transcendent energy” as “a dramatic evocation.” Like many of his other works, the idea of struggle leading to resolution— restlessness to peace, or activity to stasis—is also applicable in the case of Theurgy. The initial prelude was set to be “mysterious and intense in a subdued way” (see ex. 5.1).

A balance between stability and freedom is conveyed here through the freer harmony and malleable texture of the right-hand part, and the calm and relatively regular pace of the left-hand chords—essentially, an F-sharp major triad— initially a (6/4), modified to a (6/3) with the right hand's B♭. In this serenely majestic opening, the tenor F (in the second half of m. 1) and the ever-present C♯ in the bass add color to the basic whole-tone set (A♭–B♭–C–D–E–F♯). The rhythmic pattern in measure 8 builds up a tension that allows a sense of fixation, composed of rising and intervallically irregular sequential phrases, which are characterized mainly by the employment of minor seconds (see ex. 5.2).

Rudhyar described this particular passage as “the preliminary rush of forces and reactions of participants in the ritual.” While the undulating motion within the generally rising melodic line prevails, the sextuplets generate a texture of rhythmic precision. An effect of unease and restlessness also seems to be compressed into this flight. Rudhyar likened the serene passage in measure 27 to a “rising prayer” (see ex. 5.3). Demanding a different quality of tone here, perhaps evocative of a kind of “dream,” he informed the pianist Nils Vigeland that this melody “is the essence of Theurgy: ‘the divine Presence.’” The chord in measure 27 can be interpreted as a superimposition of C and D-flat majors (F–D♭–G–E–A♭–C), which then resolves the expressive prayer into a plain G–B sonority, suggesting the primacy of C. The association of C and D♭ is noticeable also as the first two notes of the rising melodic line, though the iteration of C permits it to stand out. Particularly with the implied C in resolution, it is possible to speak (also texturally and gesturally) of a certain simplicity or serenity, and a sense of humility embedded within this plain effect of breadth.