Editing Tone cluster (section)

===In classical music of the early 1900s===
[[File:Leo Ornstein as a young man.jpg|thumb|right|[[Leo Ornstein]] was the first composer to be widely known for using tone clusters—though the term itself was not yet used to describe the radical aspect of his work.]]
[[File:Tintamarre Anger last chord.png|upright|thumb|Final chord of ''Tintamarre''[[File:Tintamarre Anger last chord.mid]]]]

"Around 1910," [[Harold C. Schonberg]] writes, "[[Percy Grainger]] was causing a stir by the near–tone clusters in such works as his ''Gumsuckers March.''"<ref>Schonberg (1987), p. 419.</ref> In 1911, what appears to be the first published classical composition to thoroughly integrate true tone clusters was issued: ''Tintamarre (The Clangor of Bells)'', by Canadian composer [[J. Humfrey Anger]] (1862–1913).{{efn|1=For a discussion of the piece, see {{cite web|author=Keillor, Elaine|url=http://www.collectionscanada.gc.ca/sheetmusic/028008-3200-e.html|title=Writing for a Market—Canadian Musical Composition Before the First World War|publisher=Library and Archives Canada/Bibliothèque et Archives Canada|date=2004-05-10|access-date=2011-08-29}} The [http://www.collectionscanada.ca/obj/m5/f2/csm456.pdf score] of ''Tintamarre'' and its [https://archive.today/20120629090930/http://amicus.collectionscanada.ca/m5-bin/Main/ItemDisplay?l=0&ID=24441&v=1&lvl=1&coll=15&rt=1&itm=15687551all=1&dt=AN+15687551&spi=- publication record] are also available online via Library and Archives Canada/Bibliothèque et Archives Canada. See also Keillor (2000) and {{cite encyclopedia|url=https://www.thecanadianencyclopedia.ca/en/article/humfrey-anger-emc|title=Anger, Humfrey|publisher=[[The Canadian Encyclopedia]]|encyclopedia=Encyclopedia of Music in Canada|access-date=2007-08-20}} The early performance history of ''Tintamarre'' has not been established.}}

Within a few years, the radical composer-pianist [[Leo Ornstein]] became one of the most famous figures in classical music on both sides of the Atlantic for his performances of cutting-edge work. In 1914, Ornstein debuted several of his own solo piano compositions: ''[[Wild Men's Dance]]'' (aka ''Danse Sauvage''; {{circa}} 1913–14), ''Impressions of the Thames'' ({{circa}} 1913–14), and ''Impressions of Notre Dame'' ({{circa}} 1913–14) were the first works to explore the tone cluster in depth ever heard by a substantial audience. ''Wild Men's Dance'', in particular, was constructed almost entirely out of clusters ({{Audio|Ornstein-Wild Mens Dance.ogg|listen}}).{{efn|See Broyles (2004), p. 78, for premiere of these works. The piano music for Ornstein's Sonata for Violin and Piano, Op. 31 (1915; not 1913 as is often erroneously given), also employs tone clusters, though not to the extent of ''Wild Men's Dance''. ''Three Moods'' ({{circa}} 1914) for solo piano has been said to contain clusters (Pollack [2000], p. 44); perusal online of the published score, however, does not reveal any. Ornstein's solo piano piece ''Suicide in an Airplane'' (n.d.), which makes incontrovertible use of tone clusters in one extended passage, is often erroneously dated "1913" or "{{circa}} 1913"; in fact, it is undated and there is no record of its existence before 1919 (Anderson [2002]).}} In 1918, critic Charles L. Buchanan described Ornstein's innovation: "[He] gives us masses of shrill, hard dissonances, chords consisting of anywhere from eight to a dozen notes made up of half tones heaped one upon another."<ref>Quoted in Chase (1992), p. 450.</ref>

Clusters were also beginning to appear in more pieces by European composers. [[Isaac Albéniz]]'s use of them in ''[[Iberia (Albéniz)|Iberia]]'' (1905–1908) may have influenced [[Gabriel Fauré]]'s subsequent piano writing.<ref>Nectoux (2004), p. 171.</ref> [[Joseph Horowitz]] has suggested that the "dissonant star clusters" in its third and fourth books were particularly compelling to [[Olivier Messiaen]], who called ''Iberia'' "the wonder of the piano".<ref>Horowitz (2010), p. 18.</ref> The [[Thomas de Hartmann]] score for [[Wassily Kandinsky]]'s stage show ''[[The Yellow Sound]]'' (1909) employs a chromatic cluster at two climactic points.<ref>Finney (1967), p. 74.</ref> [[Alban Berg]]'s Four Pieces for clarinet and piano (1913) calls for clusters along with other avant-garde keyboard techniques.<ref>Pino (1998), p. 258.</ref> [[Claude Debussy]]'s Piano Prelude "[[La Cathédrale Engloutie]]" makes powerful use of clusters to evoke the sound of "pealing bells – with so many added major seconds one would call this [[Pandiatonicism|pan-diatonic]] harmony".<ref>DeVoto, M. (2003, .p190) "The Debussy Sound", in Trezise, M. (ed.) ''The Cambridge Companion to Debussy''. Cambridge University Press.</ref>
[[File:Debussy "La cathedrale engloutie", bars 22-28.wav|thumb|Debussy "La cathédrale engloutie", bars 22–28]]
[[File:Debussy "La cathedrale engloutie", bars 22-28.png|thumb|center|500px|Debussy "La cathédrale engloutie", bars 22–28]]

In his 1913 piano prelude "General Lavine – Excentric", one of the first pieces to be influenced by black American popular styles (the [[Cakewalk]]) Debussy features abrasive tone clusters at the conclusion of the following passage:
[[File:Debussy, "General lavine" - excentric, bars 11-19.wav|thumb|Debussy, "General Lavine" – excentric, bars 11–19]]
[[File:Debussy, "General lavine" - excentric, bars 11-18.png|thumb|center|500px|Debussy, "General Lavine" – excentric, bars 11–18]]

In his 1915 arrangement for solo piano of his ''Six Epigraphes Antiques'' (1914), originally a set of piano duets, Debussy includes tone clusters in the fifth piece, [https://www.youtube.com/watch?v=a0F-pWAJ9no&t=10m0s ''Pour l'Egyptienne''].<ref>Hinson (1990), pp. 43–44.</ref>
[[File:Debussy, Pour l'Egyptienne from 6 Epigraphes Antiques (solo piano version).png|thumb|center|500px|Debussy, Pour l'Egyptienne from 6 Epigraphes Antiques (solo piano version)]]  

Russian composer [[Vladimir Rebikov]] used them extensively in his ''Three Idylles'', Op. 50, written in 1913.{{Citation needed|date=March 2020}} [[Richard Strauss]]'s ''[[An Alpine Symphony]]'' (1915) "starts and ends with the setting sun—a B flat minor chord cluster slowly built down."<ref>W.S.M. (1958), p. 63.</ref>

Though much of his work was made public only years later, [[Charles Ives]] had been exploring the possibilities of the tone cluster—which he referred to as the "group chord"—for some time. In 1906–07, Ives composed his first mature piece to extensively feature tone clusters, ''Scherzo: Over the Pavements''.{{efn|1=Thomas B. Holmes (1985; 2002: p. 35{{Clarify|date=November 2015|reason=Which of the two editions is meant? The pagination is not the same in the two versions.}}) notes that the song ''Majority'' (aka ''The Masses''), written by Ives in 1888 at the age of fourteen, incorporates tone clusters in the piano accompaniment. He correctly describes this as "a rebellious act for a beginning composer". He errs in calling it "probably the first documented use of a tone cluster in a score". Swafford (1998) observes that Ives chose to begin his ''114 Songs'' (publ. 1922) with the work (pp. 227, 271, 325). And he too miscredits Ives with the "invention of the tone cluster" (p. 231). On the other hand, he valuably points to Ives's awareness that "tone clusters...had been there since time immemorial when large groups sang. The mistakes were part of the music" (p. 98).}} Orchestrated for a nine-piece ensemble, it includes both black- and white-note clusters for the piano.<ref>Nicholls (1991), p. 57.</ref> Revised in 1913, it would not be recorded and published until the 1950s and would have to wait until 1963 to receive its first public performance. During the same period that Ornstein was introducing tone clusters to the concert stage, Ives was developing a piece with what would become the most famous set of clusters: in the second movement, "Hawthorne", of the [[Piano Sonata No. 2 (Ives)|''Concord'' Sonata]] ({{circa}} 1904–1915, publ. 1920, prem. 1928, rev. 1947), mammoth piano chords require a wooden bar almost fifteen inches long to play.<ref>Reed (2005), p. 59; Swafford (1998), p. 262. The "Hawthorne" movement was based on the unfinished ''Hawthorne'' Concerto of 1910, from which it was recomposed largely in 1911–12. See Ives (1947), p. iii.</ref> The gentle clusters produced by the felt- or flannel-covered bar represent the sound of far-off church bells ({{Audio|Ives-Concord Sonata M2.ogg|listen}}).<ref>Shreffler (1991), p. 3; Hitchcock (2004), p. 2.</ref> Later in the movement, there are a series of five-note diatonic clusters for the right hand. In his notes to the score, Ives indicates that "these group-chords...may, if the player feels like it, be hit with the clenched fist."<ref>Ives (1947), p. 73. Ives's orthography was not consistent. When the term "group chord" is introduced earlier in the notes, it appears without a hyphen.</ref> Between 1911 and 1913, Ives also wrote ensemble pieces with tone clusters such as his Second String Quartet and the orchestral ''Decoration Day'' and ''Fourth of July'', though none of these would be publicly performed before the 1930s.{{efn|1=Swafford (1998), pp. 251, 252, 472, for descriptions; Sinclair (1999), ''passim'', for proper dating of ''Scherzo: Over the Pavements'', ''Concord'' Sonata, and other named pieces: Second String Quartet (1911–13, prem. 1946, publ. 1954); ''Decoration Day'' ({{circa}} 1912–13, rev. {{circa}} 1923–24, prem. 1931, publ. 1962); ''Fourth of July'' ({{circa}} 1911–13, rev. {{circa}} 1931, publ./prem. 1932).}}