Within the first five bars they play all twelve pitch
classes, some in more than one octave.
First, each measure contains exactly twelve pitches
: not twelve attacks - there are frequent two- or three-part simultaneities - but twelve different pitch classes, which turn out to form permutations of a twelve-note row.
Exact intonation within the twelve pitch
categories is not specified in the model.
What constantly astounds me is that while we have only twelve pitches
to nurture, how incredibly different they all feel depending on context, register, text, dynamic, articulation, tempo and emotion!
Given the hegemony of twelve-tone rows in Western modern classicism (favoring numerical permutations of all twelve pitches
in a scale over the concepts of major/ minor tonal harmony and melody that had been cherished since the Renaissance), a potential alliance between computers and the midcentury pencil-and-paper composer was almost innate.