Introduction

The Diver was composed by Nicholas Ryan Kelly (b. 1987), on a poem by Amy Lowell (1874-1925).

According to the composer’s website, Nicholas Ryan Kelly was commended by the Vancouver Sun for his “sophisticated work of such immediate, glittery appeal.” Along with having a child that’s “nature-obsessed,” Kelly finds inspiration from speculative fiction, science, and nature to make cinematic drama in his works. His piece, The Diver, appears to reflect all of these elements, bringing nature’s elements to life through vivid text-painting.

Amy Lowell was an American poet who was known for her poems full of imagery. She is also a figure in the Imagist movement where the language is very clear and to the point.

The Diver reflects on the anticipation of change. The composer shows these emotions through clever shifts of rhythm, textures, and harmony. The triplet water-like motifs and the plunging contour of the melody help bring the scenes to life to match the imagery in Amy Lowell’s poem.

Text

The piece is through-composed and is based on the poem “To-morrow to Fresh Woods and Pastures New” by Amy Lowell:

As for a moment he stands, in hardy masculine beauty, 
Poised on the fircrested rock, over the pool which below him
Gleams in the wavering sunlight, waiting the shock of his plunging.
So for a moment I stand, my feet planted firm in the present,
Eagerly scanning the future which is so soon to possess me.

The last line of the poem Lycidas by John Milton is referenced by Amy Lowell in the title of her poem. Milton’s poem reflects on the lament over a death, but in the end having a hopeful outlook after the change. This adds another potential interpretation or meaning to the poem, being able to overcome and accept the new change despite the challenge.

The form of the text consists of one stanza with five lines, though the second half of the first line is omitted from the piece. The overall message of the poem appears to be about the moment and anticipation before diving into a welcomed change.

The poem begins with the character standing on a rock next to a pool of water. The rock seems to represent the present and something that is stable and secure, whereas the pool seems to represent the future along with a sense of adventure of the unknown. The character is “eagerly scanning the future” and “waiting the shock of his plunging,” indicating a sense of anticipation.

The composer already uses text painting from the first phrase. He pairs the phrase “As for a moment” with a short phrase fragment to depict a “moment.” The word “wavering” is also matched with a “wavering” texture both in melodic contour and rhythmic texture in the use of quarter note triplets (generally against quarters grouped in duples). The word “plunging” also has a contour that descends. Whenever the composer uses the word “stand” or “rock” the notes are drawn out longer, perhaps to depict a sense of the security of the present. The word “shock” is also emphasized by being placed on the downbeat, with a crescendo build to forte up till that point, followed by a rest and subito piano. When the composer uses the word “future”, he repeats that future motif but even higher to give a sense of anticipation.

The composer decided to omit the second half of the first line “In hardy masculine beauty.” “As for a moment” is an important motif throughout, and by repeating this in place of the second half it gives this text more emphasis. Hardy is defined as being strong or capable of enduring, although perhaps this would defer the focus of the anticipation of a change if there is something potentially with hardship coming. The phrase “masculine beauty” also doesn’t necessarily pertain to the overall message.

Form

The form of the piece is through-composed. This relates to the form of the text having only one stanza, allowing motifs to be highlighted throughout the music.

An example of an important motif that returns throughout the piece is “as for a moment.” The composer omits the other half of the remaining line, and instead makes a choice to repeat this motif to make it important. There are three main key areas this piece explores, starting with D-flat major, shifting to what initially appears to be B-flat major when introducing the pool of water, transitioning into C major, then finally back to D-flat major.

Rhythm and Meter

The composer does not start on a downbeat for the “as for a moment” phrases as can be seen in measure 2.

However, the composer does break this pattern during words like “stand” and “rock” by starting on the downbeat which adds to the effect of making that word more confident and secure.

It starts out in 3/4 meter, 4/4 briefly then into a 2/2. The 2/2 still keeps the “3” pattern in a sense since there are many quarter-note triplets. The triplets help give momentum to the piece. This was mentioned earlier, but different lines are associated with a unique phrase length. “As for a moment” is a fragmented phrase, whereas phrases with “Stands” as seen in measure 8-9 are very elongated.

In the listener’s perspective, measure 53 is a definite shift. The prior section utilizes quarter note triplets starting from measure 29 to add momentum, but slows into a dotted whole note at the end of the section in measure 52.

The tempo changes to Andante espressivo, and changes back to the main melody not using triplets making the music sound slower. This seems to bring the effect that the character is now underwater, with water giving more resistance to move in initially than on the surface. The previous text does come back, so another interpretation could indicate that the character has not actually dived in but foresees the change. In the listener’s perspective, there is a definite shift to the music that does indicate some sort of change, whether the character actually dived to embrace the change or envisioned it.

Later on, the use of triplets in measure 71 comes back. The staggering “as for a moment” motif in measure 85 also returns. These two rhythmic elements bring back the feeling of momentum and confidence that was present during the anticipation section leading up to the plunge.

Texture

The first texture is homorhythm, although eventually staggering the “as for a moment” phrase as seen in measures 13-18 before returning back to homorhythm. When the pool is introduced in measure 29, the staggering idea comes on even stronger, with the soprano often varying in rhythm from what the other parts are doing. In measures 42 and 43, the tenor line starts to introduce a 2 against 3 texture which could add to the text painting of “awaiting the shock” since that texture has not occurred yet.

It’s not till the pool is introduced in the text starting in measure 29 that the texture starts to vary between the parts.

Harmony

In measures 2–3, the phrase “As for a moment” reaches up a major 7th, not quite an octave, blending notes of the I and V chords.

The Lydian dominant mode is introduced in the pool section, helping to add to the sense of wonder of the unknown that is associated with the pool analogy.

In measure 47 it appears to make E the tonic momentarily, and introduces the Gb on “shock.” Transitioning from the major section with “wavering sunlight” to suddenly changing to minor harmonies in “shock” and “plunging” with the descending motif does make that part shocking. Relating to a life scenario, when finally diving into the change sometimes one can question whether or not that was really the right thing to do. It goes back to the “as for a moment” motif but adding tone clusters in the piano that didn’t appear till the pool section. So now these two elements are mixed now that the character decided to do the plunge. When the “I stand” motif comes back it turns major with an A major chord in measure 63. In measure 64, F Lydian comes back. Eventually, it ends on the “I stand” motif starting on measure 93 with confidence, the Db supported in both the piano and bass with a DbM triad. There is a 7th in there, but it’s an inner harmony and still sounds more final than it ever had previously.

The piece tends to modulate a lot. It starts out in Db Major. A half cadence occurs in measure 28, shifting to Bb major indicated by the bass. However, the listener soon discovers that it’s actually a Lydian Dominant scale with the Gb and Db notes introduced (1, 2, 3, #4, 5, 6, 7b). This gives it a sense of exoticism or something new with this particular combination of intervals.

When it comes back to “wavering” at 41, G naturals are back but the composer kept the Db notes. In measure 53 it takes the listener to C major. Then in measure 64, the F Lydian mode reappears. Then finally in measure 74 it comes back to Db major. It does seem significant that the written keys go from Db, Bb, C, then back to Db major. The opening motif in measures 2 and 3 contains the pitches Db, C, and Bb. This could symbolize that the character already knows where they want to go, but is met with unexpected surprises as seen with the Lydian dominant scale being introduced despite the key being written as Bb. Then finally the character can be confident in its choice by ending back in the original tonic supported with the Db in the bass starting in measure 97.

Teaching

This piece is excellent for developing a sense of pulse in a student. The meter changes require the student to be able to divide the beats into either three subdivisions or two as seen in measure 29. Choir directors can encourage improvisation using these rhythmic patterns.

Starting in measure 29, the Lydian dominant mode is introduced. Teachers can strengthen their aural and theory knowledge by teaching them that there are many more scales than just major and minor. The teacher can also ask how this particular mode adds to the character of the music and the text for telling the story.

Rehearsal

In measures 85-89, the parts need to be subdivided since the parts are staggered and contain dotted quarter notes. This causes the singer to have to change pitches in the middle of beats.

Measures 93-95 and 96-99 need a lot of breath support since the singers must hold out the line for a long time.

In measures 66 and 67, it’s good to watch for the correct pitches since E and Eb exist in a short amount of time.

Getting the 2 against 3 rhythms in measures 42 and 43 might also be tricky at first between the soprano/altos and the tenors and basses.

Something to note throughout the piece is preparing for the changes in key.

Performance

When phrases like “as for a moment” repeat in the introduction, it would be beneficial to continue to grow each time it is introduced again. The pool section starting in measure 29 should sound confident with rising dynamics as well to prepare for a contrast in the next section. In measure 47, make sure the rest is observed to make the “shock” even more of a surprise. The section in 53 can have a similar character to the beginning as it shares the same motif. Ensure the choir observes the tempo markings like the accel. Poco a poco in measure 64 to build the momentum in this section. Saving the absolute loudest dynamic till the very end starting in measure 96 adds to the confidence and security of being on the tonic. Overall, I would also look out for what layers should be brought out, and what layers are just texture like in measures 41-43. Wavering is a texture, while “awaiting the shock” is continuing the storyline along. This is also indicated by the dynamics.