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79

the metric middle, relates to the contrasts and extremes of the climate and landscape of
New Mexico. Larsen indicates that she does not mean for this piece to be programmatic
or to have a narrative like
Black Roller, nonetheless the chart in Figure 5 illustrates
several of the musical gestures both implied and explained by Larsen in this section
which directly connect to O’Keeffe’s words and painting.

Figure 5: Significance of Musical Material in Black Rock

Measure(s)

Musical Material

What the Music Signifies

11,18,22

Repetition of triads__________________

The rock lying there________________________

12-14, 22+

Chromatic alternation_______________

The sand working away at the rock_________

11+__________

Pulsation___________________________

Time passing___________________________

11+__________

Piano QStinato in thirds_______________

The grounding__________________________

12+__________

Clarinet gestures____________________

The air surrounding the rock________________

Small viola range

Smallness of the rock but in skewed
prospective_________________________________

In addition to these general gestures, there are some specific instances of text
painting. When resetting O’Keeffe’s words to Larsen’s viola line, one can suppose that
the swirling clarinet gesture in m. 14 occurs after the words “blowing sand.” Also, it is
likely that Larsen twice used the words “They have lain there for a long time,” once in
m. 18 and again four bars later when the gesture repeats itself, amplifying the passage of
time.

Third Movement: Red Hills and Sky

The third movement of BlackBirds, Red Hills, is based on two paintings. The first
one,
Red and Orange Hills, (1938) returns to the Pedemal Hills as its subject. However,
unlike
Pedernal and Red Hills, this painting is an extreme close up, similar to Black Rock
with Blue Sky and Red Clouds.
The trees are in scale, but O’Keeffe removes the brush



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