A Deep Cut of Musical Materials in Daniel Hart’s Score to The Green Knight
Tense vocal harmonies that cluster and dissipate into thin air, troubadour inspired songs, plainchant, pulsing synth bass lines, lyrical content that mines middle English and an even older esoteric euphonic language, and whale songs are all parts of Daniel Hart’s ethereal sound world steeped in concepts from antiquity that was created for the score to David Lowery’s adaptation of The Green Knight.
In what ways does Hart’s score shed light on the story of the knight-to-be from the now forgotten author, a contemporary of Chaucer, a master storyteller of the Alliterative Revival in 15th century England?
In addition to analyzing the film’s music we’ll investigate some context of the narrative’s literary origins and ultimately see how the potential for inspiration towards a virtuous life is diverted in a film that is efficacious in highlighting the visual and sonic beauty of a quest as well as the nebulous morality of the modern age.
(299-300) “Now hasten and let me hear
Who answers, to what effect.” –The Green Knight
Hart’s sound palette is intentional and anachronistic, evocative of an imagined old English landscape. Yet, we are not talking the Shire here owing much to Lowery’s and Droz Palermo’s rich but dark aesthetic that prevails much of the film’s scenes. But this is to be expected when considering the style of taught thriller/horror films coming out from A24 like The Witch.
The music cues share with the cinematography a shared love of space and stillness. As one delves into the tracks it does not take long to notice one of Hart’s signature palette choices to this score, that of stark, intimate and dissonant harmonies for vocals. I cannot help but recall Ligeti’s swirling vocal works like Lux Aeterna or Drei Phantasien nach Friedrich Hölderlin and the denotations of these works, owing much to the influential setting by Kubrick, lead me to thoughts of otherworldliness and psychological fantasy.
Yet, the perpetual motion from Ligeti’s abstract expressionist use of microtonal polyphony is not found in Hart’s vocal harmonies which seem to achieve just the opposite effect, for dissonance alone cannot provide musical rhythm, and as such much of the vocal writing is arhythmic. Hart relishes in letting the harmonies hang in the air in tableaux fashion; they linger like icicles formed by the retainment of water drop by drop, with awareness of one’s own state and not accountable to the world around, not cognizant of time, only existing in space, not unlike the psychology of the reimagined protagonist Sir Gawain. Let’s go through the music cues and see how the music compliments the narrative of The Green Knight.
Sir Gawain is anything but a knight in the film version and, in regard to virtue and character, a waft shadow when compared to the original profile given by the now forgotten author, a contemporary of Chaucer, a master storyteller of the Alliterative Revival in 15th century England.
(Stanza 95) and you (Sir Gawain) truly seem
To be the most perfect paladin ever to pace the earth.
As the pearl to the white pea in precious worth,
So in good faith is Gawain to other gay knights.
In the film Gawain, in essence, is a young man of little drive or purpose, reveling in hedonistic pleasure and castle comforts. His mother, Morgan la Fey, seems to have much higher aspirations for her son than the brother and tavern basking goals he has made himself familiar with. Listening to the harmonies which present themselves for harmony’s sake, there is just that, a pleasure in their own sound yet, an absence in rhythmic motion forward through time. By this means, Hart’s approach in this score ascetically matches the unsure and indecisive psychology of Gawain. In considering the theories of Misznik, who looked at how the degree of narrativity was increased by a composition’s internal stylistic contrast, many of Hart’s cues seem to stand still, particularly in his vocal writing. Take for instance some of the follow cues:
The performance and ensemble natures of the vocal writing is also enlightening to our understanding of the narrative. The performances are entirely without vibrato, which is appropriate for Baroque and early music interpretation. Also, the size of the ensemble is notable. In interviews Hart has described the vocal ensemble as being a studio ensemble from London that consisted of 3 sopranos (featuring soprano Emma Tring), and 4 altos (the unsymmetrical balance due to Hart’s fondness for the oft neglected viola). This small grouping of voices provides a very intimate and sparse, fragile quality to the harmonies. As each voice often overlaps the other the harmonies hang out in the air with the quality that seems a moment away from dissipation.
On the other hand, cues with high degrees of narrativity, given their extended harmonic progressions and variety, gain higher hierarchical prominence and convey a sense of resolved character. Often the songs, which Hart admits are his first love as an art rock band leader and singer/songwriter himself, are filled with shifts of timbre, accessible melodies, and an almost hyper-pronounced vocal presence. Whereas the vocal harmony examples typically consist of 4-7 notes that relish in their lingering sustains, the song cues have longer forms of 6 to 8 measure phrases.
The lyrical choice in the score’s song selection exemplify another carefully thoughtout aspect of Hart’s score. He utilizes middle English and its Scandinavian roots as the basis for the lyrics. Thus, creating a sense of mystery as the words seem distantly familiar while recognizable words like Noelle sparkle out from Track 3. You Do Smell Like You’ve Been at Mass All Night.
A fascinating aspect of this score is that Sir Gawain is not associated with any musical element that tracks a transformation of his character. The cues maintain a tableau quality to themselves enjoying their abstract textural and timbral qualities. A track that standouts for its lyrical beauty is the cue, Child, Thou Ert a Pilgrim track 10. A lilting waltz melody in triple meter. It wafts into the Middle Ages like a time traveling spirit that lived another life in Nights of Cabiria or Sicily. Whether Hart was channeling Rota or not, the combined choice of middle language lyrics, the nature of the text is deliberately mysterious but with a plainchant quality by the quality of vocalizing with pure intonation and absence of vibrato, make the song memorable, familiar yet, exotic in the same sense. The melody is only presented once, while Gawain travels en route to the Green Chapel.
Later on there is an enchanting melody sung by one of the handmaidens of Camelot. Titled, O Nyghtegale (pronounced Nig-te-gawla) middle-English for Nightingale features a beautiful twist to the otherwise tonal basis by incorporating a Neapolitan lowered second scale degree in the concluding sequence of the melody. Track 27. O Nyghtegale.
It should be mentioned that the lowered second scale degree Bb (see measure 3 above) plays a significant role in the Track 28. Now I’m Ready. Through a continual repetition of three harmonies Hart builds an incredible amount of excitement. As with much of the harmonic framework there is a desire for parsimonious voice leading and Now I’m Ready is no exception.
The progression begins with A major and by neo-Riemannian accounts moves through a Parallel (P) transformation exchanging its major harmony for A minor. Then, by maintaining the E common tone proceeds by a slightly obtuse Nebenverwandt (N) transformation to a Bb b5 harmony. It might be significant here to think how this Lydian leaning harmony further emphasizes the fantastical affect of this harmonic movement.
The harmonic movement for Track 26. Excalibur also features some neo-Riemannian movements as a Leading-tone exchange sees the Amin move one voice a semitone to a resultant F major. Next the progression maintains only one common tone as it moves to C major. Hart then moves the harmony to D minor while the E postpones a final descent of the melodic line with a 9-8 suspension.
Two other vocal selections are featured in the soundtrack and both are unique in respect to their place in the score. Track 16. Aiganz O Kulzphazur: continues Hart’s desire to make the lyrics ancient sounding, mysterious and evocative of fantasy. But this time it is not through Middle English but Hart goes even more esoteric and incorporates an ancient sacred language called the Lingua Ignota.
This was a euphonic language created by the 12th century Christian mystic Hildegard von Bingen.
The Lingua Ignota is referred to as being euphonic in the sense that it was invented in order to both expand Hildegard’s ability to verbalize praise to God as well as to expand the pleasure in the sound of the language used to praise God.
The philosopher Wittgenstein once said, “The limits of my language define the limits of my world”. Hildegard seemed to be seeking a way of breaking through the hinderance of a limited language and thus a hindered experience of the divine. The Lingua Ignota may have been an attempt to redeem what she saw as a fallen language so that in the world it shapes, the natural holiness of things (even urine and drunkards) will be manifest.
The melody for Aigonz O Kulzphazur is featured instrumentally and thus in a more abstract sense in the following cue Track 17. The Giant’s Call. This time the orchestration incorporates a combination of Paetzhold extended techniques and Nycklyharpa riffings. prosopopoeia
As the tempo begins to ramp up towards the end of the track the lyrics return with vocal ensemble and what sound like the quickening leaps of giant steps. For me these two tracks are the most epic of the entire score, there are full of a confident anacrusis and crusis stride and melodicism that would, when compared to the poetic version of Gawain would seem to provide him the momentum for a continual virtuous striving.
However, in the pairing of this track we have probably the most perplexing scene with some of Hart’s resolved and driving work. Perhaps, inspired by stanza 31 of the original poem, loosely imagined, there are giants that seem to be migrating across a broad and open valley. Hart has spoken about the inspiration for the giant’s song/language as relating to whale song.
(Stanza 31) So many marvels did the man meet in the mountains,
It would be too tedious to tell a tenth of them.
He had death-struggles with dragons, did battle with wolves,
Warred with wild men who dwelt among the crags,*
Battled with bulls and bears and boars at other times,
And ogres that panted after him on the high fells.
Had he not been doughty in endurance and dutiful to God,
Doubtless he would have been done to death time and again.
But again, we do not gain inspiration from Gawain’s virtue or duty to God instead we are find intentional purposefulness in this otherworldly transmigration of giants than from the, as of yet, still searching, still pondering, Gawain.
The other vocal work of fascinating effect is heard on Track 25. Blome Swete Lilie Flour.
This cue is a folk-like song in triple meter in the natural minor mode. It has a very Scarborough Fare, troubadour feel. The melody is played on Nyckelharpa in Track 19. Should Not a Knight Offer a Lady a Kiss. Interestingly this is the only selection featuring a male vocal, perhaps it is Daniel Hart himself.
The last connecting musical motive that is used to link the score together is a motive reminiscent of Bernard Herrmann. A simple 4 note, but also presented in a truncated 3 note version can be represented at pitch class (0,9,1,7). The statement of this motive can be heard in Track 18. Brave Sir Gawain Come to Face the Green Knight which features a unique middle section of solo basso continuo/”walking harp” that leads to a return of the (0,9,1,7) motive, this time transposed down a whole step. This motive also is used in Track 20. Hold Very Still although only in its pitch class version and with the undulating Prophet synth sound. This motive sneaks in at the end of Excaliber as well.
Instrumentation in The Green Knight
Instrumentally, the score consists of a Paetzold recorder ensemble called Block4. The construction of recorders of this type allows for the Baroque/early music effect while also expanding the timbral and technical sonic palette of a traditional recorder. The instruments are as much fascinating to see as to hear. Here are just a couple examples of this instrument in a group setting. Examples here are from the ensemble featured in the soundtrack Block4 as well as of various musical arrangements of the Paetzold recorders.
Paetzold recorder ensemble.
Block4 on traditional recorders.
Daniel Hart in an interview with film composer Michael Abels discusses the joy of being able to purchase one of his first analog synthesizers a Prophet-10. He utilizes the synth into this almost entirely acoustic soundscape with an often-repeated bass line which underlies moments of carnal tension within the narrative.
The undulating Prophet synth which drives the tension created by Lady Bertilak’
In Track 20. Hold Very Still the bass line is heard as well as in Track 22. You Are No Knight. In this scene Sir Gawain is pressed by a sexual temptation. The Prophet synth motif undulating with a carnal growl as the bewildered Gawain has his merit tested by the Lady of Bertilak’s castle. Neither come up empty handed from the exchange.
Each instrumental choice seems so intentional and transparent in Hart’s score. In fact, the entire ensemble both vocal and instrumental would most likely be able to fit onto a stage production of the story. And the not least interesting instrumental choice is of the Apprehension Engine. This relatively new sound generator acoustic instrument was created out of the collaboration between film composer Mark Korven who commissioned the instrument by a Canadian luthier which has recently been marketed to the public. True this is a one-of-a-kind noise maker, and the price tag certainly ensures its vocational usage. Fantastic interview with Mark Korven discussing how the Apprehension Engine came into existence as well as some engaging performance footage.
Listen to the apprehension engine utilized for incredible effect in Track 8. One Year Hence as the looming fate of Gawain has inevitably drawn nigh and must be faced.
Take Away
Hart’s score certainly shares with the cinematography a shared love of space. There is an anachronistic, but by no means superficial, representation of medieval times through dissonance, plainchant, song, and orchestration. This use of dissonance is on the hand reminiscent of plainchant and on the other one cannot not hear Ligeti in the vocals. The harmonic choices along with the intimacy of Hart’s score gives the impression that much of the performances could have been provided from somewhere on set as in a Shakespearean stage production.
Yet, my feeling is that Hart’s approach in this score ascetically matches the unsure and indecisive psychology of Gawain while he sets out to fulfill his part of the fair exchange with the Green Knight. Narratively, Gawain, in Lowery’s adaptation seems barely able to overcome any moral hurdle and in the film score we also notice this lack. There is an absence of heroic sings, and why would they be there? and instead are plaintive, evocative, textures that Hart masterfully and subtly weaves into the film. However, many of the tokens that Hart employs are denotative in their harmonic and textural elements to elicit a sense of fantasy and introspection.
What the original manuscript gives us though, is an ideal archetype in Gawain that perseveres through challenge after challenge in pursuit of honor. The temptations of Lady Bertilak seem, in the literature, nearly to bring Gawain to the breaking point. Yet, throughout, he maintains his virtue lest he bring dishonor to God and country. How refreshing it would be to see a hero who says no to temptation of the carnal kind, who struggles yet resolves to stay the course for honor’s sake, and who humbles themselves, is contrite of heart, and admits to a transgression when found out. For in the manuscript Gawain safeguards the girdle, does not discard it as in the film, as resolves to use it as a moral reminder that stays arrogance away.
(2437) So when pride shall prick me for my prowess in arms,
One look at this love-lace will make lowly my heart.
The medieval art and literature scholar Maidie Hilmo published an enlightening work on the Gawain manuscript that suggests a possible psychological link between the Green Knight and Gawain when she proposes that there is a possibility that the Green Knight, “is the dark, innermost self that he [Sir Gawain] thought was against his nature that must be faced and cleansed before a reintegration of self and society can occur.”
At any rate, whether the challenge come from within or without Hart’s score masterfully shows us how Lowery’s Gawain is in a way a Jeremiad for a long lost hero, a true knight of the roundtable.
Recommended further reading:
An article by Maidie Hilmo’s analysis of the illustrations of the Gawain Manuscript here: were what initially got me intrigued with the original text. The illustrations and poem from the Gawain manuscript are housed at the British Library and referenced as Cotton MS Nero AX.
A fascinating analysis of the illustrations from the Gawain manuscript showing how it is likely that the same scribe who authored the alliterative revival treasures of Gawain and the Green Knight was also the illustrator. Why is this important? In the edition of Gawain and the Green Knight with a translation by Brian Stone, he states that, “Since the details of the picture do not correspond exactly with any situation described in the poem, and the artist is an inferior one, it is of little interest.” However, this study shows quite the opposite to be true.
I highly recommend Brain Stone’s translation of Sir Gawain and the Green Knight available through Penguin Classics. J.R.R. Tolkien wrote a foundational translation that Stone praises as well yet, I find Stone’s translation a bit more accessible for a modern reader and I love his skill at keeping the alliterative rhythm in the text.