Ben Johnston (composer)

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Not to be confused with Ben Jonson, Ben Johnson, or Ban Johnson.

Benjamin Burwell Johnston, Jr. (born March 15, 1926) is a contemporary music composer using just intonation. He has been called "one of the foremost composers of microtonal music" by Philip Bush (1997) and "one of the best non-famous composers this country has to offer" by John Rockwell (1990).

Biography[edit | edit source]

Johnston was born in Macon, Georgia, and taught composition and theory at the University of Illinois at Urbana-Champaign from 1951 to 1986, before retiring to North Carolina. While there,[where?] he was in contact with avant-garde figures such as John Cage, La Monte Young, and Iannis Xenakis (Gann 1995). Johnston's students have included Stuart Saunders Smith, Neely Bruce, Thomas Albert, Michael Pisaro, Manfred Stahnke, and Kyle Gann. He also considers his practice of just intonation to have influenced other composers, including James Tenney and Larry Polansky (Bermel 1995)

Johnston began as a traditional composer of art music before working with Harry Partch. He helped the senior musician to build instruments and use them in the performance and recording of new compositions. Partch then arranged for Johnston to study with Darius Milhaud at Mills College (Duckworth 1995, 122). In 1952, Johnston met Cage, who invited him to come to New York to study with him in the summer. Though Johnston decided he did not have sufficient time to prepare for such studies, he did go to New York for several weeks and assisted, along with Earle Brown, in the production of Cage's eight-track tape composition, Williams Mix (Von Gunden 1986, 22).

Later, in 1957 and 1959, he studied with Cage (Von Gunden 1986, 22), who encouraged him to follow his desires and use traditional instruments rather than electronics or newly built instruments (Bush 1997). Unskilled in carpentry and finding electronics unreliable, Johnston struggled with how to integrate microtonality and conventional instruments for ten years. He also struggled with how to integrate microtones into his compositional language through a slow process of many stages (Gann 1995). However, since 1960 Johnston has almost exclusively used a system of microtonal notation based on the rational intervals of just intonation, what Gann describes as a "lifelong allegiance" to "microtonality" (Gann 1995, 1). Johnston also studied with Burrill Phillips and Robert Palmer (Tyranny 2011; Von Gunden 1986, 23).

Johnston composed music for multiple productions by the E.T.C. Company of La MaMa, Wilford Leach and John Braswell's company-in-residence at La MaMa Experimental Theatre Club in the East Village of Manhattan. His most significant work was Carmilla, which the company performed as part of their repertory throughout the 1970s (La MaMa 2015a). He also composed music for the company's production of Gertrude, a musical about the life of Gertrude Stein (La MaMa 2015b).

His other works include the orchestral work Quintet for Groups (commissioned by the St. Louis Symphony Orchestra), Sonnets of Desolation (commissioned by the Swingle Singers), the Sonata for Microtonal Piano (1964), and the Suite for Microtonal Piano (1977). Johnston has completed ten string quartets. The Kepler Quartet has recorded all ten of his string quartets for New World Records, finishing in April 2016 just after the composer's 90th birthday (New World Records n.d.).

Johnson has said:

Tempered tuning is not the acoustically simplest kind. In just tuning, any interval is tuned so as to eliminate 'beating' (the result of vibrations interfering with each other). Just intonation is the easiest to achieve by ear. In this kind of tuning, all intervals have vibration rates related by small whole-number ratios. The larger the integers of the ratio, the greater the dissonance. (Johnston 2006a, 42).

He has received many honors, including a Guggenheim Fellowship in 1959, a grant from the National Council on the Arts and the Humanities in 1966, two commissions from the Smithsonian Institution, and the Deems Taylor Award. In 2007, the American Academy of Arts and Letters honored Johnston for his lifetime of work. His Quintet for Groups won the SWR Sinfonieorchester prize at the 2008 Donaueschinger Musiktage (Lamparter 2008).

Heidi von Gunden wrote a monograph on the composer, and Bob Gilmore has edited the composer's complete writings, which were published as "Maximum Clarity" and Other Writings on Music by the University of Illinois Press. A three-part oral history covering all stages of his career is housed at the Oral History of American Music through Yale University.

Music[edit | edit source]

He is best known for extending Harry Partch's experiments in just intonation tuning to traditional instruments through his system of notation.[citation needed]

Johnston's compositional style is eclectic. He uses serial processes, folk song idioms (string quartets 4, 5, and 10), repetitive processes, traditional forms like fugue and variations, and intuitive processes (Fonville 1991, 120–21). His main goal "has been to reestablish just intonation as a viable part of our musical tradition" (Bush 1997). According to Mark Swed, "ultimately, what Johnston has done, more than any other composer with roots in the great American musical experiments of the '50's and '60's, is to translate those radical approaches to the nature of music into a music that is immediately apprehensible" (Swed 1995,[page needed], quoted in Bush 1997).

Most of Johnston's later works use a large number of pitches, generated through just-intonation procedures. In these works, he forms melodies based on an "otonal" eight-note just-intonation scale made from the 8th through 15th partials of the harmonic series, or its "utonal" inversion. He then gains new pitches by using common-tone transpositions or inversions. Many of his works also feature an expansive use of just intonation, using high prime limits. His String Quartet No. 9 uses intervals of the harmonic series as high as the 31st partial. He uses "potentially hundreds of pitches per octave," in way that is "radical without being avant-garde," and not for the creation of "as-yet-unheard dissonances," but in order to, "return... to a kind of musical beauty," he perceives as diminished in Western music since the adoption of equal-temperament (Gann 1995). "By the beginning of the 1980s he could say of his elaborately microtonal String Quartet no. 5... 'I have no idea as to how many different pitches it used per octave'" (Gilmore 2006, xviii).

Johnston's early efforts in just composition drew heavily on the accomplishments of post-Webern serialism. His 7-limit String Quartet No. 4 "Amazing Grace", was commissioned by the Fine Arts Music Foundation of Chicago, and was first recorded by the Fine Arts Quartet on Nonesuch Records in 1980 (then reissued on Gasparo as GS205). His String Quartet No. 4, perhaps Johnston's best-known composition, has also been recorded by the Kronos Quartet. The Kepler Quartet (Sharan Leventhal, Eric Segnitz, Brek Renzelman, and Karl Lavine) also recorded the piece for New World Records, as part of a complete 10-quartet series documenting Johnston's entire cycle of string quartets. The Third Quartet was premiered as part of this series by the Concord String Quartet at Alice Tully Hall at Lincoln Center for the Performing Arts, on March 15, 1976, the composer's fiftieth birthday (Rockwell 1976).

Staff notation[edit | edit source]

Just perfect fifth on D About this sound Play (help·info). The perfect fifth above D (A+, 27/16) is a syntonic comma (81/80 or 21.5 cents) higher than the just major sixth above C (A♮, 5/3) (Fonville 1991, 109), 27/16 ÷ 9/8 = 3/2.

Beginning in the 1960s, Johnston had proposed an approach to notating music in just intonation, redefining the understanding of conventional symbols (the seven "white" notes, the sharps and flats) and adding further accidentals, each designed to extend the notation into higher prime limits. Johnston‘s method is based on a diatonic C major scale tuned in JI, in which the interval between D (9/8 above C) and A (5/3 above C) is one Syntonic comma less than a Pythagorean perfect fifth 3:2. To write a perfect fifth, Johnston introduces a pair of symbols representing this comma, + and –. Thus, a series of perfect fifths beginning with F would proceed C G D A+ E+ B+. The three conventional white notes A E B are tuned as Ptolemaic major thirds (5:4, Ptolemy's intense diatonic scale) above F C G respectively. Johnston introduces new symbols for the septimal (7 & 7 upside-down), undecimal (↑ & ↓), tridecimal (13 & 13 upside down), and further prime extensions to create an accidental-based exact JI notation for what he has named "extended just intonation" (Johnston 2006b, 77–88).

Though "this notation is not tied to any particular diapason" and "what remains constant are the ratio relations between pitches" (Johnston 2006b, 77), "most of his works utilize A = 440 as the tuning note", making C 264 Hertz (Fonville 1991, 136n3). Thus, a string quartet is tuned C-, G-, D-, A, E.

Recordings[edit | edit source]

  • 2016: Ben Johnston: String Quartets Nos. 7, 8 & 6, Quietness - Kepler Quartet (New World Records CD-80730)
    • String Quartet No. 7
    • String Quartet No. 8
    • String Quartet No. 6
    • "Quietness" (string quartet and voice)
  • 2014: Ben Johnston: Ruminations – Eclipse String Quartet, John Schneider (voice, microtonal guitar), Karen Clark (voice), Jim Sullivan (clarinet), Sarah Thornblade (violin) (MicroFest Records CD-5)
    • "The Tavern"
    • "Revised Standards"
    • "Parable"
  • 2011: Ben Johnston: String Quartets Nos. 1, 5 & 10 – Kepler Quartet (New World Records CD-80693)
    • String Quartet No. 5
    • String Quartet No. 10
    • String Quartet No. 1, "Nine Variations"
  • 2008: On Track: Commissions Vol. 2. – New Century Saxophone Quartet (Alanna Records ACD-6006, Pittsburgh)
    • Includes Johnston's "O Waly Waly Variations"
  • 2006: Ben Johnston: String Quartets Nos. 2, 3, 4 & 9 – Kepler Quartet (New World Records CD-80637)
    • String Quartet No. 9
    • Crossings: String Quartet No. 3
    • Crossings: The Silence
    • Crossings: String Quartet No. 4, "Amazing Grace"
    • String Quartet No. 2
  • 2005: Susan Fancher: Ponder Nothing (Innova Records)
    • Includes Johnston's "Ponder Nothing"
  • 2002: Cleveland Chamber Symphony. Vol. 1, 2 & 3 (Troppe Note Records)
    • Includes Johnston's "Songs of Loss"
  • 1997: Phillip Bush: Microtonal Piano (Koch International Classics 3-7369-2-H1)
    • Includes Johnston's Suite for Microtonal Piano
    • Includes Johnston's Sonata for Microtonal Piano
    • Includes Johnston's "Saint Joan"
  • 1996: Michael Cameron: Progression (Ziva Records)
    • Includes Johnston's "Progression"
  • 1993: Ponder Nothing: Chamber Music of Ben Johnston (New World Records 80432-2)
    • Septet for woodwinds, horn, and strings
    • "Three Chinese Lyrics"
    • "Gambit:"
    • "Five Fragments"
    • Trio
    • "Ponder Nothing"
  • 1995: The Stanford Quartet (Laurel Records)
    • Includes Johnston's String Quartet No. 9
  • 1976: Sound Forms for Piano (LP record, New World Records NW-203)
    • Includes Johnston's Sonata for Microtonal Piano
  • 1995: The Kronos Quartet: Released (compilation, Nonesuch Records)
    • Includes Johnston's String Quartet No. 4, "Amazing Grace"
  • 1993: Urban Diva – Dora Ohrenstein (soprano), Mary Rowell (violin), Phillip Bush (keyboards), Bill Ruyle and Jason Cirker (percussion), John Thompson (electric bass) (Emergency Music, Composers Recordings Incorporated CD-654)
    • Includes Johnston's "Calamity Jane to Her Daughter"
  • 1987: White Man Sleeps – Kronos Quartet (Elektra/Nonesuch 79163-2)
    • Includes Johnston's String Quartet No. 4, "Amazing Grace"
  • 1984: New Swingle Singers and New Vocal Workshop (Composers Recordings, Inc.)
    • Includes Johnston's "Sonnets of Desolation"
    • Includes Johnston's "Visions and Spels"
  • 1983: The New World Quartet (Composers Recordings, Inc.)
    • Includes Johnston's String Quartet No. 6
  • 1980: The Fine Arts Quartet (Nonesuch Records)
    • Includes Johnston's String Quartet No. 4, "Amazing Grace"
  • 1979: Music from the University of Illinois (Composers Recordings, Inc.)
    • Includes Johnston's Duo for flute and contrabass
  • 1970: Carmilla: A Vampire Tale (Vanguard Records)
  • 1969: John Cage & Lejaren Hiller – HPSCHD/ Ben Johnston – String Quartet No. 2. (LP record, Nonesuch Records H-71224)
  • 1969: The Contemporary Contrabass - Bertram Turetzky, contrabass (LP record, Nonesuch Records H-71237)
    • Includes Johnston's "Casta*"
  • 1968: New Music Choral Ensemble – Kenneth Gaburo, conductor (LP record, Ars Nova/Ars Antiqua Records AN1005)
    • Includes Johnston's "Ci-Git Satie"

References[edit | edit source]

  • Bermel, Derek. 1995. "Ben Johnston: Interview with Derek Bermel, 1995", Paris Transatlantic (online edition, accessed 28 June 2009).
  • Bush, Phillip. 1997. Liner notes (unpaginated) to Microtonal Piano by Ben Johnston. Phillip Bush, piano. Koch International Classics 3-7369-2. Port Washington, NY: Koch International. [Quotes The New Grove Dictionary of American Music and critic Mark Swed.]
  • Duckworth, William. 1995. Talking Music: Conversations with John Cage, Philip Glass, Laurie Anderson, and Five Generations of American Experimental Composers. New York: Schirmer Books; London: Prentice-Hall International. ISBN 0-02-870823-7 Reprinted 1999, New York: Da Capo Press. ISBN 0-306-80893-5.
  • Elster, Steven. 1991. "A Harmonic and Serial Analysis of Ben Johnston's String Quartet No. 6". Perspectives of New Music 29, no. 2 (Summer): 138–65.
  • Fonville, John. 1991. "Ben Johnston's Extended Just Intonation: A Guide for Interpreters". Perspectives of New Music 29, no. 2 (Summer): 106–37.
  • Gann, Kyle. 1995. Music Amici: Ben Johnston: Ponder Nothing. New World Records. Cat. No.: 80432. Liner notes.
  • Gilmore, Bob. 1995. “Changing the Metaphor: Ratio Models of Musical Pitch in the Work of Harry Partch, Ben Johnston, and James Tenney”. Perspectives of New Music 33, nos. 1–2 (Winter-Summer): 458–503.
  • Gilmore, Bob. 2006. "Introduction". In Ben Johnston, "Maximum Clarity" and Other Writings on Music, edited by Bob Gilmore, xi–xxiii. Urbana: University of Illinois Press. ISBN 0-252-03098-2.
  • Johnson, Timothy Ernest. 2008. "13-limit Extended Just Intonation in Ben Johnston's String Quartet Number 7 and Toby Twining's Chrysalid Requiem, Gradual/Tract". D.M.A. Thesis. Urbana: University of Illinois at Urbana-Champaign.
  • Johnston, Ben. 2006a. "Maximum Clarity" and Other Writings on Music, edited by Bob Gilmore. Urbana: University of Illinois Press. ISBN 0-252-03098-2.
  • Johnston, Ben. 2006b. "A Notation System for Extended Just Intonation" (2003). In Ben Johnston, "Maximum Clarity" and Other Writings on Music, edited by Bob Gilmore, 77–88. ISBN 978-0-252-03098-7.
  • Johnston, Ben, and Sylvia Smith. 2006. Who Am I? Why Am I here?: Ben Johnston Reflects on His Life in Music. Baltimore, Md.: Smith Publications.
  • Johnston, Sibyl. 2007. "Very Precise Relationships: Two Interviews with Ben Johnston". American Music 25, no. 2 (Summer): 169–92.
  • Kassel, Richard. 2001. "Johnston, Ben(jamin Burwell)". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
  • La MaMa Archives Digital Collections. 2015a. "[http://catalog.lamama.org/index.php/Detail/Occurrence/Show/occurrence_id/759
  • La MaMa Archives Digital Collections. 2015b. "[http://catalog.lamama.org/index.php/Detail/Occurrence/Show/occurrence_id/751
  • Lamparter, Wolfram. 2008. [untitled article]. Newsletter (19 November): 1. Baden-Baden and Freiburg: SWR Sinfonieorchester Baden-Baden und Freiburg.
  • Maltz, Richard Steven. 1991. "Microtonal Techniques in Charles Ives's Three Quarter-Tone Pieces for Two Pianos, Harry Patch's And [on] the Seventh Day Petals Fell in Petaluma, and Ben Johnston's Fourth String Quartet". Ph. D. Thesis. University of South Carolina.
  • New World Records. n.d.[full citation needed].
  • Ratliff, Phillip. 2002. "How Sweet the Sound". Living Music 18, no. 1 (Fall): 8–9.
  • Rockwell, John. 1976. "Music: Concord Strings; Quartet Performs Pieces by Johnston, Foss and Rochberg at Tully Hall". The New York Times (March 17): 33.
  • Rockwell, John. 1990. "Calamity Jane and Other Voices". The New York Times (October 14): 56.
  • Schneider, John (ed.). 2007. "Ben Johnston at Eighty". 1/1: The Journal of the Just Intonation Network 12, no. 3 (Johnston Birthday Volume).
  • Shinn, Randall. 1977. "Ben Johnston's Fourth String Quartet". Perspectives of New Music 15, no. 2 (Spring-Summer): 145–73.
  • Swed, Mark. 1995. "Ben Johnston". Chamber Music Magazine (March):[full citation needed]
  • Taylor, Mark R. 2002. "Ben Johnston: Suite; Sonata; Saint Joan. Phillip Bush (piano); Koch International Classics 3-7369-2-H1; Ben Johnston: Chamber Music. Music Amici. New World Records 80432-2". Tempo, new series, no. 220 (April): 54–55. ((subscription required), accessed 01/04/2009 02:08.)
  • Tyranny, "Blue" Gene. 2011. "Ben Johnston: Biography", AllMusic.com.
  • Von Gunden, Heidi. 1986. The Music of Ben Johnston. Metuchen, NJ, and London: The Scarecrow Press, Inc. ISBN 0-8108-1907-4.

Further reading[edit | edit source]

  • Elster, Steven. (1991). "A Harmonic and Serial Analysis of Ben Johnston's String Quartet No. 6". Perspectives of New Music 29, no. 2 (summer): 138–165.
  • Gilmore, Bob. (1995). "Changing the Metaphor: Ratio Models of Musical Pitch in the Work of Harry Partch, Ben Johnston, and James Tenney". Perspectives of New Music 33, nos. 1–2 (winter-summer): 458–503.
  • Johnson, Timothy Ernest. (2008). "13-limit Extended Just Intonation in Ben Johnston's String Quartet Number 7 and Toby Twining's Chrysalid Requiem, Gradual/Tract". Doctor of Musical Arts thesis. Urbana: University of Illinois at Urbana-Champaign.
  • Johnston, Ben, and Sylvia Smith. (2006). Who Am I? Why Am I Here?: Ben Johnston Reflects on his Life in Music. Baltimore: Smith Publications.
  • Johnston, Sibyl. (2007). "Very Precise Relationships: Two Interviews with Ben Johnston". American Music 25, no. 2 (summer): 169–192.
  • Kassel, Richard. (2001). "Johnston, Ben(jamin Burwell)". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
  • Maltz, Richard Steven. (1991). "Microtonal Techniques in Charles Ives' Three Quarter-Tone Pieces for Two Pianos, Harry Patch's And [on] the Seventh Day Petals Fell in Petaluma, and Ben Johnston's Fourth String Quartet". PhD thesis. University of South Carolina.
  • Ratliff, Phillip. (2002). "How Sweet the Sound". Living Music 18, no. 1 (fall): 8–9.
  • Schneider, John, ed. (2007). "Ben Johnston at Eighty". 1/1: The Journal of the Just Intonation Network 12, no. 3 (Johnston birthday volume).
  • Shinn, Randall. (1977). "Ben Johnston's Fourth String Quartet". Perspectives of New Music 15, no. 2 (spring-summer): 145–173.

External links[edit | edit source]

Listening[edit | edit source]

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