Music Of The Twentieth Century An Anthology.pdf

MUSIC OF THE TWENTIETH CENTURY An Anthology

MUSIC OF THE TWENTIETH CENTURY AN ANTHOLOGY BRYAN R. SIMMS University of Southern California

SCHIRMER BOOKS

A Division of Macmillan, Inc. NEW YORK

Copyright © 1986 by Schirmer Books A Division of Macmillan, Inc. All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the Publisher. Schirmer Books A Division of Macmillan, Inc. 866 Third Avenue, New York, N. Y. 10022 Library of Congress Catalog Card Number: 85-754459 Printed in the United States of America printing number 3456789

10

Library of Congress Cataloging-in-Publication Data

Main entry under title. Music of the twentieth century. 1. Musical analysis—Music collections. 2. Music appreciation—Music collections. 3. Music—20th century. I. Simms, Bryan R. II. Title: Music of the 20th century. MT6.5,M93 1986 85-754459 ISBN 0-02-873Ö20-8

CONTENTS Contents by Composer Preface Part One

MUSIC FOR PIANO 1. 2. 3. 4. 5. 6. 7. 8. 9.

Part Two

Erik Satie Claude Debussy Maurice Ravel Béla Bartök Darius Milhaud Arnold Schoenberg Henry Cowell Sergei Prokofiev lohn Cage

13. Paul Hindemith 14. Benjamin Britten 15. Pierre Boulez 16. Luciano Berio 17. Peter Maxwell Davies

Richard Strauss Igor Stravinsky Alban Berg Dimitri Shostakovich

54 57

"Dans la forêt de septembre," op. 85, no. 1 "Warm die lufte" from Four Songs, op. 2, no. 4 114 Songs: "Charlie Rutlage" "From Paracelsus" "Vom Tode Mariä I" from Das Marienleben "Dirge" from Serenade for Tenor, Horn and Strings, op. 31 "L'artisanat furieux" from Le marteau sans maître "Black Is the Color of My True Love's Hair" from Folk Songs "Country Dance (Scotch Bonnett)" from Eight Songs for a Mad King

61 67 70 75 78 85 94 97 102

Salome: final scene Petrushka: second scene Lulu: "Lied der Lulu" Lady Macbeth of the Mtsensk: Orchestral Interlude between scenes 4 and 5

109 133 149 157

CHORAL MUSIC 22. Anton Webern 23. Igor Stravinsky

Part Five

1 5 9 23 34 37 41 44

DRAMATIC AND ORCHESTRAL MUSIC 18. 19. 20. 21.

Part Four

Saraband no. 1 Saraband from Pour le piano Jeux d'eau Fourteen Bagatelles for Piano, op. 6: nos. 1, 4, 8, 14 "Botafogo" from Saudades do Brazil Five Piano Pieces, op. 23: no. 4 The Banshee Seventh Piano Sonata: third movement (finale) Two Pieces for Piano: Sonatas and Interludes: Sonata no. 5 Music of Changes: movement 4, section 1

MUSIC FOR SOLO VOICE 10. Gabriel Fauré 11. Alban Berg 12. Charles Ives

Part Three

iv v

Second Cantata, op. 31: fifth movement ("Freundselig ist das Wort") Mass: Credo

181

Octandre: first movement Fourth String Quartet, op. 37: first movement (Allegro molto; Energico) Kreuzspiel: Introduction and first section Black Angels: sections 6 and 7 Clapping Music Sixth String Quartet: third movement (Variations [on Pachelbel))

199 207

188

CHAMBER MUSIC 24. Edgard Varèse 25. Arnold Schoenberg 26. Karlheinz Stockhausen 27. George Crumb 28. Steve Reich 29. George Rochberg

iii

239 248 251 254

CONTENTS BY COMPOSER Bartök, Béla (1881-1945) Fourteen Bagatelles for Piano, op. 6: nos. 1, 4, 8, 14 (1908) Berg, Alban (1885-1935) Lulu: "Lied der Lulu" (1928-35) "Warm die Lüfte" from Four Songs, op. 2 (ca. 1908-ca. 1910) Berio, Luciano (1925- ) "Black Is the Color of My True Love's Hair" from Folk Songs (1964) Boulez, Pierre ( 1925- ) "L'artisanat furieux" from Le marteau sans maître (1954, revised 1957) Britten, Benjamin (1913-76) "Dirge" from Serenade for Tenor, Horn and Strings, op. 31 (1943) Cage, John (1912- ) Music of Changes: movement 4, section 1 (1951) Sonatas and Interludes: Sonata no. 5 (1946-48) Cowell, Henry (1897-1965) The Banshee (1925) Crumb, George (1929- ) Black Angels: sections 6 and 7 (1970) Davies, Peter Maxwell (1934- ) "Country Dance (Scotch Bonnett)" from Eight Songs for a Mad King (1969) Debussy, Claude (1862-1918) Saraband from Pour le piano ( 1894— 1901) Fauré, Gabriel (1845-1924) "Dans la forêt de septembre," op. 85, no. 1 (1902) Hindemith, Paul (1895-1963) "Vom Tode Mariä I" from Das Marienleben (1923) Ives, Charles (1874-1954) 114 Songs: "Charlie Rutlage" (1920-21) "From Paracelsus” {1921)

23 149 67

Milhaud, Darius (1892-1974) "Botafogo" from Saudades do Brazil (1920)

34

Prokofiev, Sergei (1891-1953) Seventh Piano Sonata: third movement (finale) (1939-42)

44

Ravel, Maurice (1875-1937) feux d'eau (1901)

9

97

Reich, Steve (1936- ) Clapping Music (1972)

251

94

Rochberg, George (1918- ) Sixth String Quartet: third movement (Variations fon Pachelbel]) (1978)

254

Satie, Erik (1866-1925) Saraband no. 1 (1887)

85

Schoenberg, Arnold (1874-1951) Fourth String Quartet, op. 37: first movement (Allegro molto; Energico) (1936) Five Piano Pieces, op. 23: no. 4 (1920-23)

57 54 41

1

207 37

Shostakovich, Dimitri (1906-75) Lady Macbeth of the Mtsensk: Orchestral Interlude between scenes 4 and 5 (1930-32)

157

Stockhausen, Karlheinz (1928- ) Kreuzspiel: Introduction and first section (1951, revised 1959)

239

Strauss, Richard (1864-1949) Salome: final scene (1903-1905)

109

Stravinsky, Igor (1882-1971) Mass: Credo (1944-48) Petrushka: second scene (1910-11)

188 133

78

Varèse, Edgard (1883-1965) Octandre: first movement (1923)

199

70 75

Webern, Anton (1883-1945) Second Cantata, op. 31: fifth movement ("Freundselig ist das Wort") (1941-43)

181

248

102

5

61

IV

PREFACE The works contained in this anthology provide the student of modern music with a representative sample of the major musical styles of this century. These pieces and their place in the history of twentieth-century music are discussed in Music of the Twentieth Century: Style and Structure by Bryan R. Simms (Schirmer Books, 1986), for which this anthology serves as a companion volume. Diversity has been a primary goal in choosing the contents that follow. As many different composers, genres, and styles as possible are presented, and there is a balance of works from both the early and recent decades of the century. The contents are organized by medium or by genre and, within each of these categories, by chronology of composition. Music for piano—the first subdivision—has continued in the twentieth century to occupy the central position that it held in the nineteenth. The selections by Satie, Debussy, Ravel, Bartok, and Milhaud are in the genre of the character piece—a concise movement, that is, which projects a particular mood, emotion, or programmatic idea. Schoenberg's Piano Piece, op. 23, no. 4, is an abstract atonal conception; Cowell's The Banshee, an experimental study in sound in which the instrument is played in an entirely novel way. The finale of Prokofiev's Seventh Piano Sonata—one of his most avant-garde works—mobilizes asym¬ metrical rhythms and irregular division of the measure for its impetuous effect. The two works by Cage exemplify his experiments with "prepared" piano and with the chance selection of sounds and silences. Works for solo voice by Fauré, Berg, Ives, and Hindemith continue the nineteenth-century con¬ ception of the song, but they contain many new stylistic ideas. Berg's "Warm die Lüfte" is his earliest atonal composition, Ives's "Charlie Rutlage" uses spoken narration, and Hindemith's song from Das Marienleben combines this composer's incipient neoclassicism with a chromatic style of harmony and melody. The remaining selections for solo voice are examples of an important new genre in the twentieth century: song-like compositions accom¬

panied by small and diverse chamber orchestras or ensembles. Berio's adaptation of "Black is the Color of My True Love's Hair" adds to the repertory of artistic folk song arrangements which had their greatest popularity early in the century. Davies's "Country Dance" from Eight Songs for a Mad King allies the ensemble song to theatric elements of presentation. Selections from opera and ballet constitute the next category. The excerpts from Stravinsky's Petrushka and Shostakovich's Lady Macbeth are brilliant orchestral works which can be used as independent concert pieces. Movements from two of the outstanding choral compositions of the century—Stravinsky's Mass and Webern's Second Cantata—are given as examples of divergent styles of modern choral writing. The emphasis upon clarity and economy in music early in the twentieth century brought about a great revival of chamber music. Selections by Schoenberg, Crumb, and Rochberg illustrate three distinct ap¬ proaches to writing for string quartet. Schoenberg's Fourth String Quartet is a twelve-tone work which is otherwise traditional in form. Rochberg's Sixth String Quartet is an eclectic piece that pays homage to several of his forebears. Crumb's Black Angels calls for the instruments of the quartet to be amplified and for the players to produce many unorthodox sounds. Varese's Octandre and Stock¬ hausen's Kreuzspiel are for mixed chamber groups, and Reich's Clapping Music uses no instruments at all other than the hands of two performers. All works having texts in foreign languages are provided with new translations by the compiler. The bibliography refers readers to the chapter in Music of the Twentieth Century: Style and Struc¬ ture in which a further discussion of the music may be found. Other bibliographic entries are limited in general to writings in English. The discography emphasizes recent commercial recordings, cassette tapes, and compact discs that are available in the United States. The dates at the end of these discographie citations are those of issue.

v

PARTI MUSIC FOR PIANO l* Erik Satie (1866-1925) Saraband no. 1 (1887)

Discography

Satie's three Sarabands for piano are among his earliest compositions, but they set forth a style to which he would be faithful for the remainder of his career. The pieces are disarmingly simple in texture, delicate in sonority, and repetitive in construction. The harmonies of the first Saraband rely upon unresolved sevenths and ninths for their pungent sonority—a feature that we associate with the later music of Satie's friend Debussy. Satie was perhaps indebted for this colorful harmonic practice to Emmanuel Chabrier, whose comic opera Le roi malgré lui contains similar passages. Satie heard this work— by which he was greatly inspired—in Paris only months before composing the Sarabands.

Bibliography

Piano Music of Erik Satie, vol. 3. Aldo Ciccolini, piano. Angel S 36485 (1968). Piano Music of Erik Satie. Frank Glazer, piano. Vox SVBX 5422 (1968). Piano Music by Erik Satie. John McCabe, piano. Saga 5387 (1974). Satie: Selected Piano Music. Laurence Allix, piano. Musical Heritage Society MHS 1978-79 (1975). Piano Music of Satie. Daniel Varsano, piano. Columbia M 36694 (1981).

-

Music of the Twentieth Century, Chapter 8. Myers, Rollo H. Erik Satie, pp. 67-93. London, 1948. Wehmeyer, Grete. Satie. Regensburg, 1974, passim.

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Claude Debussy (1862-1918) Pour le piano (1894-1901):

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Bibliography

Debussy composed this Saraband in 1894 as one of a group of character pieces for piano which he called "Images." The Saraband was revised in 1901 andplaced as the second movement of the collection Pour le piano. It was later orchestrated by Maurice Ravel. Although a relatively early work, the Saraband exemplifies Debussy's mature style in its elegant melodiousness and subtle exploitation of the sonority of the piano. The tonic key of C-sharp minor is treated with great freedom and is colored by swathes of pentatonic motion, quartal harmony, and unresolved seventh chords moving in parallel. The original version of the Saraband was published most recently in 1977 by Theodore Presser.

Music of the Twentieth Century, Chapter 8. Lockspeiser, Edward. Debussy. 5th ed. Master Musi¬ cians Series. London, 1980. Valias, Léon. Claude Debussy: His Life and Works, pp. 155-57, 275. Trans. Maire and Grace O'Brien. Oxford, 1933.

Discography Piano Music of Debussy. Philippe Entremont, piano. Columbia MS 6567 (1964). Gina Bachauer, piano. Mercury SRI 75139 (1965). Michel Béroff, piano. Angel S 36874 (1972). Zoltân Kocsis, piano. Philips 412118-2PH (compact disc, 1984).

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Maurice Ravel (1875-1937) Jeux d'eau (1901)

In his "Autobiographical Sketch" printed in the Revue musicale in December 1938, Maurice Ravel underscores the importance of ]eux d'eau in his future development as a composer:

Boat on the Ocean" from Miroirs and "Ondine" from Gaspard de la nuit.

Jeux d'eau, which appeared in 1901, is at the source of all the pianistic innovations that have been noted in my work. This piece, inspired by the sound of water and by the musical sounds made by fountains, water¬ falls, and streams, is based on two motives in the manner of the first movement of a sonata, but without a classical tonal plan.

Music of the Twentieth Century, Chapter 8. Orenstein, Arbie. Ravel: Man and Musician, pp. 154, 213-14, and passim. New York, London, 1975. Ravel, Maurice. "Esquisse autobiographique." Revue musicale, 19 (1938), 21 1-15.

Bibliography

Discography Maurice Ravel: The Complete Works for Solo Piano. Philippe Entremont, piano. Columbia D3M 33311 (1975). Maurice Ravel: Piano Music. Paul Badura-Skoda, piano. Musical Heritage Society MHS 4148 ( 1979). Jean-Philippe Collard, piano. EMI 2C 167/73.02573.027 (1980). Gilels Live at Carnegie Hall. Emil Gilels, piano. Musical Heritage Society MHS 4369-4370 (1981).

The title of this work and its effervescent arpeggios were probably suggested to Ravel by Liszt's "Les jeux d'eaux à la Villa d'Este" from the third Année de pèlerinage (1877). The poet Henri de Régnier added this epigraph to Ravel's score: "River god laughing from the water which tickles him." The virtuosic writing for piano of Jeux d'eau and its watery images recur in Ravel's work, notably in "A

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Fourteen Bagatelles for piano, op. 6 (1908): nos. 1, 4, 8, 14 Bibliography

Bartök's Fourteen Bagatelles are character pieces in the concise and abstract style that characterizes his music from the time of their composition through the 1920s. In the Introduction to his Masterpieces for the Piano ( 1945), he describes their idiom as a "reaction to the exuberance of the romantic piano music of the nineteenth century, a style stripped of all inessential decorative elements, deliberately using only the most restricted technical means." The first Bagatelle contains conflicting key signa¬ tures in its two staves. According to Bartok, this conflict shows the "absurdity" of key signatures in certain kinds of contemporary music. He states that the work is in a "Phrygian-colored C major." Bagatelle no. 4 is a harmonization of a folk song that Bartok recorded in 1907 in the region of Tolna in southern Hungary. The eighth Bagatelle is one of the most experimental of the entire set in its free use of chromatic pitches and nondiatonic harmonies. Bartok considered it to express the key of G minor. Bagatelle no. 14 is a grotesque waltz, subtitled "My dancing sweetheart." It contains a melodic figure introduced in measures 9-12 that Bartok had earlier used to signify his friend Stefi Geyer. Geyer had broken off their relationship shortly before the Bagatelles were written.

Music of the Twentieth Century, Chapter 9. Antokoletz, Elliott. "The Musical Language of Bartök's 14 Bagatelles for Piano." Tempo, 137 (1981), 8-16. Material from this article is elaborated on in idem, The Music of Be'la Bartok. Berkeley, Los Angeles, London, 1984. Bartok, Béla. "Introduction to Bêla Bartok Master¬ pieces for the Piano." In Essays, pp. 432-33. Ed. Benjamin Suchoff. New York, 1976. Forte, Allen. Contemporary Tone-Structures, pp. 74-90. New York, 1955. Stevens, Halsey. The Life and Music of Bela Bartok, pp. 111-12. Rev. ed. London, Oxford, New York, 1964.

Discography Béla Bartok Complete Edition. Kornél Zempléni, piano. Hungaroton LPX 1299 ( 196—). Gyorgy Sandor, piano. Vox SVBX 5247 (1961). Robert Silverman, piano. Orion ORS 74152; Orion 650 (cassette tape) (1974). Robert Hagopian, piano. Etcetera 1012 (digital, 1983).

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Darius Milhaud (1892-1974) Saudades do Brazil (1920): "Botafogo"

Darius Milhaud's fascination with dance music of Latin America began in 1917 during a sojourn in Rio de Janeiro, where he served as an assistant to Paul Claudel, then France's ambassador to Brazil. After he returned to France, Milhaud recreated the lazy syncopations of the maxixe, lundû, and samba in his collection of twelve dances for piano, Saudades do Brazil. "Botafogo"—like each of the dances—is named after a location near Rio. This work is an example of polytonality, with which Milhaud experimented at this period. In the outer sections, the main melody in the right hand outlines the key of F-sharp minor, which is superimposed above an accompaniment in F minor.

The Saudades were subsequently orchestrated by the composer.

Bibliography Music of the Twentieth Century, Chapter 9. Milhaud, Darius. Notes Without Music. Trans. Donald Evans, ed. Rollo H. Myers. New York, 1952.

Discography William Bolcom, piano. Nonesuch FI 71316 (1975).

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Arnold Schoenberg (1874-1951) Five Piano Pieces, op. 23 (1920-23): Piece no. 4

Bibliography

The Piano Piece, op. 23, no. 4, is Schoenberg's last atonal work prior to his embarking upon the twelvetone method of composition. Atonal music, which he composed from about 1908, is predominantly dis¬ sonant and lacks traditional key. It is unified instead by motivic development and by varied recurrences of sets of pitches. Schoenberg composed the first fourteen measures of this piece in July 1920, at about the same time that he completed the first and second pieces of opus 23. These first two pieces were performed by Eduard Steuermann in a concert of the Society for Private Musical Performances later in 1920. Schoenberg returned to the fourth piece nearly three years later, and it was completed in February 1923, after he had made his earliest essays in twelve-tone composition. He did not use this method in this piano piece, however, but followed instead a method that he termed "composing with tones of the motive." According to this approach, the pitches of basic motives introduced at the beginning of a work return systematically in varied forms in both lines and chords. Opus 23 was completed by the addition of two other pieces composed in 1922 and 1923. These two works are among Schoenberg's earliest examples of serial composition.

Music of the Twentieth Century, Chapters 2 and 7. Forte, Allen. "Sets and Nonsets in Schoenberg's Atonal Music." Perspectives of New Music, 1 1 (1972), 43-64. Graziano, John. "Serial Procedures in Schoenberg's Opus 23." Current Musicology, 13 (1972), 58-63. Maegaard, Jan. "A Study in the Chronology of op. 23-26 by Arnold Schoenberg." Dansk Aarhog for Musikforskning (1962), 93-115. Stein, Erwin. "New Formal Principles." In Orpheus in New Guises, pp. 57-77. London, 1953.

Discography The Complete Music for Solo Piano. Glenn Gould, piano. Columbia MS 7098 (1968). Schönberg: Intégrale de l'oeuvre pour piano. Claude Helffer, piano. Harmonia mundi HM 252 (1968). Jtirg von Vintschger, piano. Turnabout TV-S 34378 (1970). Arnold Schoenberg Piano Music. Paul Jacobs, piano. Nonesuch H 71309 (1975). Arnold Schoenberg: The Piano Music. Maurizio Pollini, piano. Deutsche Grammophon 2530531 (1975). Die Klaviermusik der neue wiener Schule. Yuji Takahaskhi, piano. Denon OX 7159-7160 (1979).

37

Schoenberg: Five Piano Pieces/ no. 4

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Schoenberg: Five Piano Pieces, no. 4

7*

*

Henry Cowell (1897-1965) The Banshee (1925)

Bibliography

The Banshee is one of several pictures in sound composed by Henry Cowell in the early decades of the twentieth century that develop new methods of playing the piano. Beginning with "The Tides of Manaunaun" in 1912, Cowell exploited tone clusters to create harmonies made from major and minor seconds. In 1923 he experimented with composition for "string piano," in which the player directly manipulates the strings inside of the instrument. Each of these studies relies upon sound to convey an image suggested by its title. The Banshee, for string piano, evokes the mournful wail of this creature from Irish myth. According to Gaelic legend, the banshee was an ancestor from the realm of death who returned to the family to claim another soul. Its presence was announced by its unearthly shriek.

Music of the Twentieth Century, Chapter 11.

Discography Piano Music of Henry Cowell. Henry Cowell, piano. Circle CWS 3 (1951) (including a supplementary record on which the composer discusses the music). Sounds of New Music. Henry Cowell, piano. Folkways FX 6160 (1958). Piano Music of Henry Cowell. Henry Cowell, piano. Folkways Records FM 3349 (1963). Sound Forms for Piano. Robert Miller, piano. New World 203 (1976). The Piano Music of Henry Cowell. Doris Hays, piano. Finnadar FIN 9016 (1977).

41

42

Cowell: The Banshee Explanation of Symbols

“The Banshee” is played on the open strings of the piano, the player standing at the crook. Another person must sit at the keyboard and hold down the damper pedal throughout the composition. The whole work should be played an octave lower than written. R. H. stands for “right hand.” L. H. stands for “left hand.” Different ways of playingthe strings are indicated by a letter over each tone, as follows: indicates a sweep with the flesh of the finger from the lowest string up to the note given. sweep lengthwise along the string of the note given with flesh of finger. sweep up and back from lowest A to highest B-flat given in this composition. pluck string with flesh of finger, where written, instead of octave lower. sweep along three notes together, in the same manner as ®. sweep in the manner of (5) but with the back of finger-nail instead of flesh. when the finger is half way along the string in the manner of (F), start a sweep along the same string with the flesh of the other finger, thus partly damping the sound. sweep back and forth in the manner of (c), but start at the same time from both above and below, crossing the sweep in the middle. sweep along five notes, in the manner of ^b). same as^^ but with back of finger-nails instead of flesh of finger. sweep along in manner of (j) with nails of both hands together, taking in all notes between the two outer limits given. sweep in manner of (c) with flat of hand instead of single finger.

Copyright © 1930 by W. A. Quincke and Company. Used by arrangement with Associated Music Publishers, Inc.

Cowell: The Banshee

43

8*

*

Sergei Prokofiev (1891-1953)

Seventh Piano Sonata (1939-42): Third Movement (finale)

Prokofiev sketched his Seventh Piano Sonata in 1939 and completed it in 1942, during a period when he had been evacuated from Moscow in the face of advancing German forces. The work was first heard upon his return to Moscow in 1943. Sviatoslav Richter, who played the premier performance, inter¬ prets the progressive style of the piece as an expression of wartime anxiety:

Bibliography

Music of the Twentieth Century, Chapter 8. Richter, Sviatoslav. "On Prokofiev." In Sergei Proko¬ fiev: Materials, Articles, Interviews, pp. 182-98. [Moscow], 1978. Discography

The sonata immediately throws one into the anxious situation of the world losing its equilibrium. Anxiety and uncertainty reign. Man is witnessing the riot of the violent forces of death and destruction.

Maurizio Pollini, piano. Deutsche Grammophon 2530225 (1972). Vladimir Ashkenazy, piano. London CS 6573 (1969). The Horowitz Collection. Vladimir Horowitz, piano. RCA Red Seal ARM1 2952 (1978, recorded in 1945); ARK1 2952 (cassette tape). Paul Rutman Plays Russian Piano Works. Paul Rutman, piano. Odyssey Y 34634 (1978). Richter Plays Russian Piano Music. Sviatoslav Richter, piano. Musical Heritage Society MHS 7036 (1979).

The Seventh Sonata is indeed one of Prokofiev's most dissonant and chromatic works. The finale is a perpetuum mobile in which Prokofiev's customary lyricism gives way to driving asymmetrical rhythms.

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Two Pieces for Piano:

Sonatas and Interludes (1946-48): Sonata no. 5 Music of Changes (1951): movement 4, section 1

is notated from left to right in the measure. For example, a note placed midway in the measure is to be played when half of the time devoted to that measure has elapsed. The fractions above and below groups of notes or rests tell which part of the beat is occupied by that figure or rest. A cross is placed at the point in a measure at which a sustained note or pedal is to be released.

Sonatas and Interludes—a cycle of sixteen sonatas and four interludes—is Cage's longest and most substantial work for prepared piano, a medium that he began to explore in the late 1930s. In music of this type, the sound of the piano is transformed by mutes placed between the strings of certain notes. Within each piece in this cycle of works, the pitches and other sounds are intuitively selected—"chosen as one chooses shells while walking along a beach," the composer writes. The form of the sonatas, which is independent of their content of sounds and pitches, consists of durational patterns in which the lengths of subsections create simple numerical ratios with one another. In Sonata no. 5, for example, the binary form is divided (by double bars) into sections whose total number of half-note values is 18/18/18/18/9, that is, 2/2/2/2/1. It is necessary for this sonata to be studied in connection with a recording, since the preparation of the instrument produces sounds that deviate from their notated appearance. Music of Changes is written for conventional piano. It consists of four large movements, each in numerous sections. The form—like that of Cage's Sonatas and Interludes—is determined by a succession of dura¬ tions. But the configuration of pitches and rests that fills these durational spans is chosen by procedures of chance, thus banishing—at least in part—the com¬ poser's taste and intuition. The work becomes, in Cage's words, "an activity characterized by process [which is] essentially purposeless." Cage's chance procedures require many notational peculiarities. Each measure contains four beats at the metronomic speed shown above the staff. But the performer cannot rely upon traditional counting. Instead, a note or figure begins at the point at which it

Bibliography Music of the Twentieth Century, Chapters 11 and 13. Cage, John. "Changes" and "To Describe the Process of Composition Used in Music of Changes and Imaginary Landscape no. 4." In Silence, pp. 18-34 and 57-59. Middletown, Conn., 1961. Griffiths, Paul. Cage. Oxford Studies of Composers (18), pp. 19-29. London, New York, Melbourne, 1981.

Discography (Sonata no. 5 ). Maro Ajemian, piano. Dial 19-20 (1951 ); reissued, Composers Recordings CRI 199 (ca. 1965). Sound Forms for Piano. Robert Miller, piano. New World W 203 (1976). Joshua Pierce, piano. Tomato Records TOM 2 1001 (1977). Contemporary Piano Music. Klara Kormendi, piano. Hungaroton SLPX 12569 (1985). (Music of Changes, movements 3-4). David Tudor, piano. New World NW 214 (1978).

54

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PART 11 MUSIC FOR SOLO VOICE

♦ !()♦ Gabriel Fauré (1845-1924) "Dans la forêt de septembreop. 85, no. 1 (1902)

The melodies of Fauré wed the depth of expression of German lieder to the traditional color of French music and to the restraint and fluidity of nineteenthcentury French poetry. The text of "Dans la forêt de septembre" is by Catulle Mendès (1841-1909), one of the founders of the Parnassian school of poetry. The Parnassians sought an elegant perfection of poetic form and language and espoused a lofty aestheticism. Fauré treats the six stanzas of Mendès's poem as a rondo: music of the first stanza is repeated in a varied shape in the third stanza and again near the end of the song, beginning with the last line of the fifth stanza.

I come with footsteps still quick Into your depths still green. But from a slender birch on the path, A russet leaf grazes My head and lights trembling on my shoulder. The aging forest— Knowing that winter where all miscarries is now at hand in me as in it— Presents me with a fraternal tribute Of its first dead leaf!

Bibliography

TEXT Music of the Twentieth Century, Chapter 8. Meister, Barbara. Nineteenth-Century French Song: Fauré, Chausson, Duparc, and Debussy, pp. 117-20. Bloomington, 1980. Noske, Frits. French Song from Berlioz to Duparc, pp. 255-72. 2d ed., rev. Rita Benton and Frits Noske, trans. Rita Benton. New York, 1970.

In September's Forest Weakened, murmuring branches, Sonorous tree trunks, hollowed by age, The ancient, aching forest Is in tune with our melancholy. O fir trees clinging to the gorge, Dry nests in broken boughs, Burnt thickets, flowers without dew, You know of suffering!

Discography Gérard Souzay, baritone; Dalton Baldwin, piano. Philips 835286AY (1969). Bernard Kruysen, baritone; Noël Lee, piano. Telefunken SAT 22546 (1973). Mélodies complètes. Jacques Herbillon, baritone; Théodore Paraskivesco, piano. Musical Heritage Society MHS 3438-3443 (1974).

And when man, entering palely, Cries in your solitary woods, Shadowy and mysterious plaints Greet him with sympathetic tears. Good forest! Open promise Of the exile which life implores,

61

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gloomy giant trees. "He still has not come. He has abandoned me. . . ." Die! One dies while another lives: this makes the world so profoundly beautiful. (from Der Glühende by Alfred Mombert)

The four songs of Berg's opus 2 constitute a cycle unified by poetic images of sleep and dreams and by recurrent musical elements. These pieces are transi¬ tional in style between Berg's earlier romantic manner and his later atonal language. Indeed, the last song, "Warm die Lüfte," is his first completely atonal work. The conclusion of this song from measure 20 recapitulates harmonic materials from earlier pieces of the cycle, especially from the first song. The pessimism expressed by the words of this passage may reflect Berg's own despair at the difficulties of his courtship with his future wife, Helene Nahowski. The first edition of the cycle (1910) was dedicated to Fräulein Nahowski, but this gesture is absent in the revised version of the songs which was published in 1928. The passage in "Warm die Lüfte" from measures 20 and 21, whose harmonies alternate between forms of all-interval tetrachords, was later duplicated by Claude Debussy in the fourth Épigraphe antique (m. 29-32).

Bibliography Music of the Twentieth Century, Chapter 7. Carner, Mosco. Alban Berg: The Man and the Work, pp. 98-101. 2d, rev. ed. New York, 1983. Jarman, Douglas. The Music of Alban Berg, passim. Berkeley, 1979. Redlich, Hans. Alban Berg, pp. 35-44. London, 1957. Stuckenschmidt, H. H. "Debussy or Berg? The Mystery of a Chord Progression." Musical Quarterly, 51 (1965), 453-59. Wennerstrom, Mary. "Pitch Relationships in Berg's Songs, op. 2." Indiana Theory Review, 1 (1977), 12-22.

Discography Landmarks of 20th-Century Music. Heather Harper, soprano. Angel S 36480 (1968). Songs of the New Vienna School. Dietrich FischerDieskau, baritone. Deutsche Grammophon 2530107 (1972). Frühe Lieder von Berg, Schönberg und Schreker. Elisabeth Speiser, voice; Irwin Gage, piano. JecklinDisko 561 (1982).

TEXT Warm is the air; grass sprouts on sunny meadows. Listen! Listen! The nightingale is piping. I shall sing. High above in the mountain's dusky woods, the cold snows are melting and glistening. A girl in somber dress leans upon a moist oak; sickly are her delicate cheeks. Her gray eyes burn feverishly among the

67

68

Berg: Four Songs, "Warm die Lüfte"

Berlin: Schlesinger'sche Buch- u. Musikhandlung, 1910.

Berg: Four Songs, "Warm die Lüfte"

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69

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♦

12*

Charles Ives (1874-1954) 114 Songs:

"Charlie Rutlage" (1920-21) "From Paracelsus" (1921)

Bibliography

In 1922 Charles Ives assembled a collection of 114 Songs from among his works in this genre composed during the preceding three decades. The collection was published at his expense and distributed free of charge to musicians whom he thought might be interested in it. The songs are remarkably diverse in style and content. Their words are alternately philosophical statements, patriotic expressions, folk ballads, college songs, and texts used by nineteenthcentury European song composers. In style the music alternates or intermingles the traditional and exper¬ imental: marches, folk-like tunes, sentimental bal¬ lads, and hymn tunes are juxtaposed with atonal music, semi-improvisatory pieces, and dissonant studies. In the "Postface" to 114 Songs, Ives asserts the philosophy behind the eclectic diversity of the collection and behind his own aspirations as a composer. Art, he says, is not elitist or self-reflective. It stems instead from the instincts of the common man and it celebrates everyday activities—one's work, the nation, ethical concerns, and family life. "Charlie Rutlage" sets a cowboy ballad written by D. J. O'Malley. The song begins and ends in a folk-song style; the middle part is a dramatic recitation whose accompaniment ends in tone clusters hammered out by the fists of the pianist. "From Paracelsus" takes its words from a closet drama of Robert Browning. The music is a reworking of passages from Ives's Robert Browning Overture (1912).

Music of the Twentieth Century, Chapter 11. Hitchcock, H. Wiley. "Charles Ives's Book of 114 Songs." A Musical Offering: Essays in Honor of Martin Bernstein, pp. 127-36. Ed. Claire Brook and E. H. Clinkscale. New York, 1977. Ives, Charles E. Postface to 114 Songs. In Essays Before a Sonata, The Majority, and Other Writings, pp. 120-31. Ed. Howard Boatwright. New York, 1962.

Discography ("Charlie Rutlage"). Marni Nixon, soprano; John McCabe, piano. Nonesuch H 71209 (1968). American Scenes, American Portraits. Evelyn Lear, soprano; Thomas Stewart, baritone; Alan Mandel, piano. Columbia M 30229 (1971). Roberta Alexander, voice; Tan Crone, piano. Etcetera KTC-1020 (compact disc, 1984). ("From Paracelsus"). The Art Song in America. John Kennedy Hanks, tenor; Ruth Friedberg, piano. Duke University Press (1965). Ted Puffer, tenor; James Tenney, piano. Folkways Records FM 3344 (1966). Jan DeGaetani, mezzo-soprano; Gilbert Kalish, piano. Nonesuch H 71325 (1976).

70

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1935 Merion Music Inc. Used by permission of the publisher.

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Ives: "From Paracelsus

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Paul Hindemith (1895-1963) Das Marienleben (1923): "Vom Tode Maria I"

the house of the Last Supper. They came gravely and entered fearfully. There she lay, along the narrow bedstead, mysteriously immersed in her end and in her chosen state—entirely unharmed, as one unused, listening to the song of angels. Now when she saw them waiting behind their candles, she tore herself from the abundance of voices and, with a full heart, gave away the two robes which she owned. And she raised up her countenance to this one and that one. . . . (O source of nameless streams of tears.) Then she sank back in weakness and drew the heavens so near to Jerusalem that her soul, setting forth, had only to stretch itself a little, for He who knew everything about her was even then raising her to her godly nature.

Paul Hindemith's song cycle Das Marienleben (The Life of Mary) marks the end of his youthful period of musical experimentation and the beginning of a neoclassical orientation which he steadfastly pursued from this time. Hindemith's music in the fifteen songs of this monumental collection is objec¬ tive and coolly detached from the emotions of the text; the texture is predominantly contrapuntal, there is regularity of rhythm and meter, and traditional forms are employed. The texts of Das Marienleben are a cycle of lengthy poems in prose by Rainer Maria Rilke (1875-1926) describing events in the life of the Blessed Virgin Mary. The collection is concluded by three poems "On the Death of Mary." The first of these tells of Mary's last days on earth. Hindemith's setting is in a ternary form, whose outer sections are variations upon a fivemeasure ground bass. As an expression of Mary's dignity and majesty, the music is a severe polyphonic invention stripped of all extraneous details. In 1948 Hindemith completed a revision of the cycle in which most of the songs were made more regular in phrasing and harmony.

Bibliography Music of the Twentieth Century, Chapter 10. Kemp, Ian. Hindemith. Oxford Studies of Composers (6), pp. 13-14. London, Oxford, 1970. Skelton, Geoffrey. Paul Hindemith: The Man Behind the Music, pp. 75-77. New York, 1975. Truscott, Harold. "Hindemith and Das Marienleben." Musical Times, 110 (1969), 1240-42.

TEXT The same great angel which had earlier brought her tidings of her conception, stood there, waiting until she noticed him. And he spoke, "It is now time that you appear." And she was frightened as before and, humbly acquiescing, became again as the maiden. Then he became radiant and, nearing her infinitely, vanished as into her face. And he called together the widely dispersed Disciples to the house on the slope,

Discography Paul Hindemith Anthology, Vol. 7. Peggy Bonini, soprano; Ingolf Dahl, piano. GSC Recordings 7 (1977). Roxolana Roslak, soprano; Glenn Gould, piano. Columbia M2 34597 (1978).

78

Hindemith: Das Manenleben, "Vom Tode Mariä I"

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Hindemith: Das Marienleben, "Vom Tode Mariä I

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14♦

♦

Benjamin Britten (1913-76) Serenade for Tenor, Horn and Strings, op. 31 (1943): "Dirge"

Britten composed the Serenade shortly after return¬ ing to England from his wartime sojourn in Canada and the United States. It was originally geared to the virtuosic skills of the tenor Peter Pears and hornist Dennis Brain. The cycle is begun by a soliloquy for valveless horn, which is repeated offstage at the conclusion. The six vocal movements are settings of poetic works by Charles Cotton (1630-87), Alfred, Lord Tennyson ( 1809-92), William Blake ( 1757-1827), Ben Jonson (ca. 1573-1637), John Keats (1795-1821) and of an anonymous fifteenth-century Scottish dirge. The Dirge exemplifies Britten's reinterpretation of triadic tonality. The vocal line is an ostinato that repeatedly outlines a G-minor triad. The orchestral commentary, which takes the form of a fugue, is centered on a tonality of El>.

Palmer, Christopher. "Embalmer of the Night: The Orchestral Song Cycles." In The Britten Com¬ panion, pp. 308-28. Ed. Christopher Palmer. Cambridge, 1984.

Discography Peter Pears, tenor; Dennis Brain, horn; New Symphony Orchestra of London, Eugene Goossens, conductor. Decca-Eclipse ECS 507 (1969). Peter Pears, tenor; Barry Tuckwell, horn; London Symphony Orchestra, Benjamin Britten, con¬ ductor. London 26161 (1971). Robert Tear, tenor; Alan Civil, horn; Northern Sinfonia Orchestra, Neville Marriner, conductor. Angel-EMI SXLP 30194 (1971). Peter Pears, tenor; Dennis Brain, horn; Boyd Neel String Orchestra, Benjamin Britten, conductor. Decca-Eclipse ECM 814 (1979, recorded in 1944). Robert Tear, tenor; Dale Clevenger, horn; Chicago Symphony Orchestra, Carlo Maria Giulini, con¬ ductor. Deutsche Grammophon 2531199 (1979).

Bibliography Music of the Twentieth Century, Chapter 10. Evans, Peter. The Music of Benjamin Britten, pp. 91-94. London, 1979.

85

86

Britten: Serenade for Tenor, Horn and Strings, "Dirge"

Alla marcia grave

(J = eo)

® Copyright 1944 in U.S.A. by Hawkes & Sons (London) Ltd. Copyright for all countries. Used by permission.

Britten: Serenade for Tenor, Horn and Strings, "Dirge

87

88

Britten: Serenade for Tenor, Horn and Strings, "Dirge"

20

Britten: Serenade for Tenor, Horn and Strings, "Dirge"

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Britten: Serenade for Tenor, Horn and Strings, "Dirge"

93

15*

*

Pierre Boulez (1925-

)

Le marteau sans maître (1954, revised 1957): "L'artisanat furieux"

TEXT

Boulez's Le marteau sans maître (The Hammer Without Master) is one of a number of works by European composers of the 1950s which explore new ways of setting a text by assimilating poetic structures into musical syntax. Boulez selects three surrealistic poems by René Char which he sets to music for voice and differing chamber ensembles. The sections with text are elaborated by instrumental movements which function as commentaries, preludes, or epi¬ logues. Boulez calls upon the alto voice to sing in dif¬ ferent manners, including Schoenbergian speaking voice, vocalization, singing with the mouth closed, and a virtuosic style requiring instrumental agility. All of these contribute to a subtle expression of both the meaning and structure of the words. The third movement, "L'artisanat furieux," is indebted in its medium of voice and flute to the seventh movement of Schoenberg's Pierrot lunaire. The music maintains great freedom from regular beat or rhythm and from traditional textures. The struc¬ tures of pitch are systematically chosen according to Boulez's method of "multiplication of frequencies" (an explanation of which is found in the article by Lev Koblyakov cited below).

The Raging Proletariat The red caravan at the perimeter of the jail And a corpse in the basket And work horses in the horseshoe I dream of my head on the tip of my Peruvian knife

Bibliography Music of the Twentieth Century, Chapter 12. Griffiths, Paul. Boulez. Oxford Studies of Composers (16), pp. 28-38. London, New York, Melbourne, 1978. Koblyakov, Lev. "Pierre Boulez, Le marteau sans maître: Analysis of Pitch Structure." Zeitschrift für Musiktheorie, 8 (1977), 24-39. Stockhausen, Karlheinz. "Music and Speech." Die Reihe, 6 (1960, English trans. 1964), 40-64.

Discography Jeanne Deroubaix, alto; Pierre Boulez, conductor. Turnabout 34081S (1966). Music of OurTime. Robert Craft, conductor. Odyssey 32160154 (1968). Boulez Conducts Boulez. Yvonne Minton, mezzosoprano; Ensemble Musique Vivante. Columbia M 32160 (1973).

94

Boulez: Le marteau sans maître, "L'artisanat furieux"

Flute in G

Alto voice

fia Iterzunge

© Copyright 1954 by Universal Edition (London) Ltd., London. All rights reserved. Used by permission of European American Music Distributors Corporation, sole U.S. agent for Universal Edition.

95

96

Boulez: Le marteau sans maître, "L'artisanat furieux'

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♦

16*

Luciano Berio (1925-

)

Folk Songs {1964): "Black Is the Color of My True Love's Hair"

treatment, the voice is accompanied by harp, cello, and viola, the last of which plays in the twangy manner of a "country dance fiddler." The viola part is not rhythmically synchronized with the vocal line. Berio rearranged his Folk Songs for soprano and orchestra in 1973.

The genre of the folk-song arrangement enjoyed great popularity in the first half of the twentieth century in works of Bartök, Milhaud, Ravel, Falla, Ives, Britten, and Vaughan Williams. Although it lost a measure of its appeal after World War II, this genre was revived by Luciano Berio in a highly original manner in his Folk Songs. The eleven pieces in this collection take their tunes and words from traditional songs of America, Armenia, France, Italy, and Azerbaijan. The Folk Songs were written by Berio for the soprano Cathy Berberian, with whom he collabo¬ rated on numerous compositions of the 1950s and 1960s. As folk songs go, the tune of "Black Is the Color of My True Love's Hair'' is of recent origin. It was composed between 1916 and 1921 by the American folk singer John Jacob Niles (1892-1980). "I had come home from eastern Kentucky singing this song to an entirely different tune," he writes. "So I wrote a new tune, ending it in a nice modal manner." In Berio's

Bibliography Music of the Twentieth Century, Chapter 15.

Discography Cathy Berberian, soprano; Juilliard Ensemble, Luciano Berio, conductor. RCA Red Seal LSC 3189 (1971). (Also see the recording by John Jacob Niles, voice and dulcimer, of this song: Traditional Carols and Love Songs, Traditional Records, TLP 1023, ca. 1957.)

97

Berio: Folk Songs, "Black Is the Color of My True Love's Hair"

98

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like a wistful ”country dance fiddler”

o

*) Play section between repeat signs to signal -<Jb . Section need not to be completed

® Copyright 1968 by Universal Edition (London) Ltd., London. All rights reserved. Used by permission of European American Music Distributors Corporation, sole U.S. agent for Universal Edition.

Berio: Folk Songs, "Black Is the Color of My True Love's Hair'

2

J=

ca. 90

99

100

Berio: Folk Songs, "Black Is the Color of My True Love's Hair"

he

no_

more_

on_

a1.

i

will.

be

’twill

i

-é3-1

*) see preceding note

earth

*

i

J

=3-- l---

1-3

sure-

J

-

ly

be the

j

Berio: Folk Songs, "Black Is the Color of My True Love's Hair

gue ftno al segno

101

♦

17*

Peter Maxwell Davies (1934-

)

Bight Songs for a Mad King (1969): "Country Dance (Scotch Bonnett)"

The insanity of the English monarch George III is the subject of Eight Songs for a Mad King, a piece of musical theater composed by Peter Maxwell Davies to words by Randolph Stow. The part of the king is recited, sung, and acted. A flutist, clarinetist, violinist, and cellist play their parts from inside cages, by which they represent bullfinches that the king coached in singing. The ensemble also includes keyboard instruments and percussion, the latter of which represents the king's keeper. In the seventh song, "Country Dance," the people of Windsor are regaled by the king's mad rendition of "Comfort Ye My People" from Handel's Messiah. The monarch's good spirits then lead to a foxtrot. But his mood becomes hysterical as his thoughts turn to the sinfulness and evil of the world. He takes the violin, which he plays and finally breaks apart, representing the destruction of his own soul.

Bibliography Music of the Twentieth Century, Chapter 15. Griffiths, Paul. Peter Maxwell Davies, pp. 64-66 and 147-49 (the latter consisting of notes by the composer). London, 1982. Harvey, Jonathan. "Maxwell Davies's Songs for a Mad King." Tempo, 89 (1969), 2-6.

Discography Julius Eastman, voice; The Fires of London, Peter Maxwell Davies, conductor. Nonesuch H 71285 (1973).

102

Davies: Eight Songs for a Mad King, "Country Dance"

© Copyright 1971 by Boosey & Hawkes, Inc. Reprinted by permission.

103

104

Davies: Eight Songs for a Mad King, "Country Dance''

106

Davies: Eight Songs for a Mad King, "Country Dance"

107

Davies: Eight Songs for a Mad King, "Country Dance

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108

Davies: Eight Songs for a Mad King, "Country Dance"

PART 111 DRAMATIC AND ORCHESTRAL MUSIC ♦ ]L8* Richard Strauss (1864-1949) Salome (1903-1905): Final Scene

Richard Strauss conceived his daring plan to use Oscar Wilde's play Salome as an opera text even before he saw the play performed in 1903 at Max Reinhardt's Deutsches Theater. His impression at that perfor¬ mance only strengthened his resolve to bring to the operatic stage a story that mingled Biblical legend and perverse sexuality. Wilde uses the Gospel accounts of the imprison¬ ment and execution of John the Baptist at the hands of King Herod as a pretext for a grotesque fantasy of forbidden love. Herod's stepdaughter Salome develops an unquenchable lust for the ascetic Jochanaan (John the Baptist), and, following a seductive "Dance of the Seven Veils" for the pleasure of the king, she is granted her wish to be given the decapitated head of this prophet. In her final soliloquy, Salome sings to the head, which she fondles and—in the darkness of a cloudy night—finally kisses. A beam of moonlight betrays her, and Herod, at last revulsed, commands that she be killed.

Bibliography Music of the Twentieth Century, Chapter 7. Del Mar, Norman. Richard Strauss: A Critical Com¬ mentary on his Life and Works, vol. 1, pp. 238-86. London, 1962. Mann, William. Richard Strauss: A Critical Study of the Operas, pp. 39-62. New York, 1966.

Discography Montserrat Caballé, Regina Resnik, Sherrill Milnes; London Symphony Orchestra, Erich Leinsdorf, conductor. RCA Red Seal LSC 7053 (1969). Birgit Nilsson, Eberhard Wächter; Vienna Philhar¬ monic Orchestra, Georg Solti, conductor. London OS 1218 (1970). Gwyneth Jones, Dietrich Fischer-Dieskau; Hamburg Staatsoper, Karl Böhm, conductor. Deutsche Grammophon 2707052 (1971). Hildegard Behrens, José Van Dam; Vienna Phil¬ harmonic Orchestra, Herbert von Karajan, con¬ ductor. Angel SBLX 3848 (1978).

109

110

Strauss: Salome, final scene (A Auge black arm of the cxecutioner, com»» forth from tAe cittern,bearing on a «Weep tKxeld tke ktmd of Jokanaan Salome teitoo

M

Sal.

$t

J=72

*0

Andante

Ziemlich langsam. (Viertel)

Berlin: Adolph Fürstner, 1905. Piano reduction by Otto Singer.

Strauss: Salome, final scene

Sal.

111

^-

r^" m fl' itfl " ,P -—- --g-T7^---- KP ... -If- '~P Duwoll-test mich nicht deinen Mund

-A ^ Ah!

kiisthy

ajjjflfe --

-Jß& n9 *

5« j'--ÀÆ * &

gL 5* ‘i-

10

Sal.

jfc—Jocha

-

-

Jo-ka-

-

-

ha - an!

-na-an! ^

-**>

>. >«■»

m

- sen lassen,

mouth,_thou wouidst not, 3

r4"

I7-

Pp 'ft frp

1 .-

Wohl, /Veil,

71

ta--

Strauss: Salome, final scene

112

Sal.

Ljl y \^*f9 - ju-—

"2 ti

■ - ■

... -n—aK-

S

Sal.

(ft »* ^Ez •J ^?îù largo noch breiter molto espr.

> --■■ ■ !

■ "1 ,■ r ip Ja,_ V>j?

m ■ " m-■-JL —~p p -P=g-— ich will ihii jetzt / iciX Mfs

~'| • - 1

Strauss: Salome, final scene

30 8*1.

113

-

r up* kus-sen,

É=i

1 1

del -

1

*-1

Vr—F— - nen

Mund,

- i^>i--, ^ =*===== Tin Jn- cha - ia - an. v

114

Strauss: Salome, final scene

115

Strauss: Salome, final scene

ritard. Sal.

a tempo

mm

tedi

m

m schlossen ?

iff- ne doch dochaii Off-ne die Au-gen,

"so he-be ne ie-be dei- n<

Li - der,

Jo-cha

do - sèd?

0 - pen thou thine eyes.

lift up a-gain thine eye- lids,

Jo - ka

m

;£

m

55

60

Sal.

säten

gE ■efriT T

«—»

Angst vor mir

cha - na- an,

dass du

mich nicht

froid of me?

ka - na - an

that thou

wilt

calando

a tempo M.J=7g

\

Sal.

hen willst? me?

not

.

» b Und dei-ne Zun - ge, And thy red tongue [kürzend hart)

£

sie

doth

116

Strauss: Salome, final scene

r 1 rvT7-T§\ " •J

/

K

h 1

b 4 Tr T—

ill*

1 «T

k_i

It i

Un TMT ^Jf ic_ u Ufa -SII PI£r- ■ —_IT_I _v_ —UEL

Wie kommt es,

dass c[le-se

How is

that this small sea riet vi- per

it

- J V7

hr

sich ..

..

,i

doth

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-m L J-*’ "** ' " jii-J --

70 Sal.

nicht mehr rührt?— no

ro - te Nat-ter

^ ml

7^

stir

—0-r-j-j-[?■!i,Li in i À_i a r y fa_1_f

more?-

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■> L „

-

•

,x^~~

S1^

Strauss: Salome, final scene

117

Strauss: Salome, final scene

118

immer bewegter.

85 Sal.

\}&semprepiù

i

dein Kopf ge-hört

mir!

tky head belongs to

me!

t »J

Sal.

was will ras ich will. what I will.

I'm free

r~ ~j r-v g

Ich kann ihn den Hun I may give it the dogs.

-

den

vor - wer to feed

ffen on.

Strauss: Salome, final scene

119

Strauss: Salome, final scene

120

Sal.

-

Sal.

fen-bein-sau lumn of

ÊÉg

«

ber-nen Fiis-

vo-ry

set

on

a

sil

- sea.

Erw&r ein

ver socket.

-

It was a

110

ten

m

den

fUU of do

tPif-

vol-ler Tau

ln der SU full of sil

-

- bér-U -

-

per li -

-

sempre piu mosso iij

mo llo apttoss ionato p— m— y— ■—

S*i.

shine..

No thing on earth

-

1

fi-P—-—

23

-

r

—

—

-

was so

white_

«

thy

OJ P l J3iH

Sal.

Nichts ln der Welt_ war so No thing on

earth_ was so

schwarz wie dein

black— as thy

Strauss: Salome, final scene

ranch - ge - fass ter

of sweet scents.

121

und wenn ich and when

I

dich looked

122

Strauss: Salome, final scene

a

ritard. 0

Sal

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lento (»Jmpre $) (stets t)

più ritard.

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MÂJXÊâ

Du Thou

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the

Strauss: Salome, final scene

123

sempre più vivo

160

immer lebhafter.

feM'—IE

Sal.

Bln - de

el -

earring of him.

? nes,

fl ° der

sei - nen

Gott

who

seek - eth

Ood

schau - en in

all His

■ i ' O r| Tjr.J Ji^|

A*

glo

170

165 Sal.

wo 11 -

--te.Wohl!_ -

- ry.

Well!

Du hast del-nen Gott ge-sehn, «-sehn, Thou may'st have seen thy Ood,

Jo -cha Jo - ka

-

-

na na-an, na na-an,

-

124

Strauss: Salome, final scene 180

125

Strauss: Salome, final scene

stringendo

Mit grosser Steigerung

205

T kön - nen aie-ses can

e

-

ver the

briin heat_

'’p - sti-ge

Be.

of my strong

126

Strauss: Salome, final scene

piu accelerando

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n W

—

tUliï. -5r"

cresc.

tffW*

pc-? '

Strauss: Salome, final scene

127

230

^6 isgsisigipaie ist is

gro grea -

sser sser als das Qe - heim - nis ’ the myste - ry

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te i

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à

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p Us

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des

- ter than

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w -des... death...

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s ira

S

Pi^f

Herod (wit\ lowered voice to Hcrodiaa)

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.. Sie ist ein Un-ge-heu-er. She is

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-e-g-

daughter.

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me

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dough-tar’s deed.

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Ah! Ah!

128

Strauss: Salome, final scene

GDtaker)

(schwächer) Herodes.

'u

Da spricht meines Bruders Weib.

Komm,

There speaks my_ brotheri wife.

Come,

.i_

»

»JU>

^

ich wilTmcht an diesem Or-te blei-bcn. I will— no longer stay in this place. > !>*

%

?

245

»

m

(vehemently)

(heftiff) Hero¬ de«.

IL-Uplt). ‘

Komm Come,

sag ich dir! / tell thee.'

Hero¬ des. (the moon ditappeare)

an zu er - zit-tern...

ginning to tremble ■..

3

M ï ’ JiJi Si - cher,

Sure- ly,

es wird

something

129

Strauss: Salome, final scene

doppelt SO schnell, A

molto allegro (doppïo movxmente)

(anffahrand) (riaty (riein# »uddenly) tvddenly)_L

*eV

?

m

Man

-_

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zi - as,

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löscht

m »trière

255

<es wird

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Hero¬ des.

pm «J Va Mrol Fa-ckelnaus. tor

-

W:

Û

- ne!

ver - bergt die Ster -

Ver - bergt den Mond, Hide_the moon.

cfies.

die

puf out the

hide

_ the stars

marc. become» very dark)

260

*r -r !r

ganz dunkel,)

Eswird Something

Schreck - li ter

-

ri

- ches -

1

ge

ble

-

toill

schehn. come

Eaargcrgg Lento

doppelt so langsam .

T"

,

poco

*'270

(faintly)

_

Salome (matt.) sehr gedehnt

1

£ Ah!_ ^A/_

£

M.Jrts

£

Ich na-öe dei-nen Mund ge-küsst. /- have_kissed thy mouth.

Jo-cha Jo - ka

yf

130

Strauss: Salome, final scene

131

Strauss: Salome, final scene

i

s&i.

Ich

ha-be deinen Mund .

I

have_ now— kissed

300 Sal.

Êli» f g r’

■Sh-

kiisst, Jo-cha - na - an.

Ich

ha-be ihn ge-kiisst_

mouth, Jo-ka - na - an.

1

have— now— kissed.

132

Strauss: Salome, final scene

molto largo

(A (D«r Mond bricht

Sal.

Molto allegro

(Die Soldaten stürzen sich auf Salome begraben sie nnter ihren Schilden.)

ÿ

Î

1:

»

X «uw:.

Sehr Schnell.and

at.

I

♦

19*

Igor Stravinsky (1882-1971) Petrushka (1910-11): Second Scene

Bibliography

Petrushka is Stravinsky's second ballet score writ¬ ten for Sergei Diaghilev and the Ballets Russes and the first that clearly reveals his musical personality. The scenario of the ballet, devised by the composer in collaboration with Alexandre Benois, is in four connected scenes. At a nineteenth-century Shrovetide fair in St. Petersburg, a showman reveals his puppets— the clown Petrushka, a ballerina, and a Moor—who come to life at the sound of the showman's flute. In the second scene Petrushka curses his lot in life; the ballerina brings tender thoughts to his mind, but she deserts him and he again cries out in rage. The ballerina now visits the exotic Moor, whom she seduces. Petrushka bursts in upon their amorous scene, but he is promptly thrown out by the Moor. After witnessing a succession of dance numbers in the final scene, the crowd at the fair is shocked to see Petrushka pursued and murdered by the Moor. The showman reasserts that Petrushka is only a puppet, but as he drags the lifeless body back to his tent, Petrushka's ghost is seen thumbing his nose at the crowd. The music of the second scene was conceived in 1910 as a concert piece for piano and orchestra and subsequently revised as part of the ballet. The music was further revised by Stravinsky in 1947, although the score presented here is from the original version of the ballet.

Music of the Twentieth Century, Chapter 8. Benois, Alexandre. Reminiscences of the Russian Ballet, pp. 324-26 and passim. Trans. Mary Britnieva. London, 1941. Fokine, Michel. Memoirs of a Ballet Master, pp. 183-94. Trans. Vitale Fokine, ed. Anatole Chujoy. Boston and Toronto, 1961. Hamm, Charles, ed. Stravinsky: Petrushka. Norton Critical Scores. New York, 1967. Contains articles and reviews and the complete score of the first edition with corrections. Toorn, Pieter C. Van den. The Music of Igor Stravin¬ sky, pp. 31-98. New Haven, London, 1983. White, Eric Walter. Stravinsky: The Composer and his Works, pp. 193-203. Berkeley, Los Angeles, 1979.

Discography (1911 version only) New Philharmonia Orchestra, Erich Leinsdorf, con¬ ductor. London STS 15478 (1971). New York Philharmonic, Pierre Boulez, conductor. Columbia M 31076 (1971). London Symphony Orchestra, Charles Dutoit, con¬ ductor. Deutsche Grammophon 2530771; cassette 330071 1 (1977). London Symphony Orchestra, Claudio Abbado, con¬ ductor. Deutsche Grammophon 2532010 (digital); 400042-2 GH (compact disc) (1981). London Symphony Orchestra, Bernard Haitink, conductor. Philips 412371-1 (1984).

133

Stravinsky, Petrushka, second scene

134

At the rise of the curtain, the door in Petrushka s room opens suddenly. A foot kicks him on to the stage. Petrushka falls and the door closes behind him.

Berlin: Russischer Musikverlag, 1912.

Stravinsky, Petrushka, second scene

49 Molto meno. J- so.

Cl.T.(Sit)

Cl.II.'

Piano.

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135

Stravinsky, Petrushka, second scene

136

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Stravinsky, Petrushka, second scene

137

138

Stravinsky, Petrushka, second scene

Stravinsky, Petrushka, second scene

139

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144

Stravinsky, Petrushka, second scene J.J.

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Stravinsky, Petrushka, second scene

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Stravinsky, Petrushka, second scene

147

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Stravinsky, Petrushka, second scene

pin if

♦

20*

Alban Berg (1885-1935) Lulu (1928-35): "Lied der Lulu" (from Act 2, scene 1)

As a text for his opera Lulu, Berg adapted Frank Wedekind's Expressionistic dramas Earth Spirit and Pandora's Box. The central character of the first of these plays is Lulu, who represents the female life principle. She is married to a succession of men who fall totally under her spell, each of whom is destroyed by her seductivity. In the "Song of Lulu” she states her philosophy. Her apparent destructiveness, she tells her husband Dr. Schön, is a condition to which her victims willingly submit. The Song is one of over fifty numbers into which the composer divides the three-act opera. The music exemplifies Berg's free adaptation of the twelve-tone method of composition and his use of several tone rows in addition to nonserial structures of pitches. Its vocal style is highly coloratura, which helps to express Lulu's seductivity. Lulu was left incomplete at the time of Berg's death in 1935, lacking a completed orchestration of the third act and other minor revisions which he had planned. It has been performed in its entirety only since 1979, in a version completed by Friedrich Cerha. The music of the "Song of Lulu" also appears as the third movement in Berg's Lulu Suite (1934).

You had cheated your best friends with me, so you could not cheat yourself with me. If you sacrifice your latter years to me, so you have had my entire youth in return. I have never wished to appear anything in the world other than that for which I am taken, and I have never been taken for anything else in the world than what I am.

Bibliography Music of the Twentieth Century, Chapter 7. Carner, Mosco. Alban Berg: The Man and the Work, pp. 215-76. 2d, rev. ed. New York, 1983. Jarman, Douglas. The Music of Alban Berg, passim. Berkeley, 1979. Perle, George. The Operas of Alban Berg. Vol. 2: Lulu. Berkeley, 1985. Redlich, Hans. Alban Berg, pp. 163-202. London, 1957. Reich, Willi. Alban Berg, pp. 156-77. Trans. Cornelius Cardew. New York, 1965.

Discography Teresa Stratas, Yvonne Minton, Hanna Schwarz; Orchestre de l'Opéra de Paris, Pierre Boulez, conductor. Deutsche Grammophon 271 1024 (complete opera, 1979). Evelyn Lear, Dietrich Fischer-Dieskau; Orchester der Deutschen Oper, Karl Böhm, conductor. Deutsche Grammophon 139273/75 (lacks Act 3, 1968).

TEXT If men have killed themselves on my account, my value is not lessened. You knew why you married me, just as I knew why I married you.

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*

Dimitri Shostakovich (1906-75) Lady Macbeth of the Mtsensk (1930-32): Orchestral Interlude between scenes 4 and 5

Lady Macbeth of the Mtsensk was intended by Shostakovich to be the first in a series of dramatic works focusing upon the place of women in the Soviet state. The opera is based upon a realistic nineteenthcentury story by Nikolai Leskov in which Katerina Izmailova murders both her father-in-law and hus¬ band. Shostakovich's version uses Katerina's actions to symbolize women in Soviet society overthrowing the debasing conditions of their existence in Tsarist Russia. Shostakovich's music is highly eclectic as it ranges from the sentimental and folk-like to moments of Expressionistic atonality and dissonance. Despite Shostakovich's protestations to the contrary, Lady Macbeth is indebted to German Expressionist opera and, especially, to Berg's Wozzeck, which Shostako¬ vich saw performed in Leningrad in 1927. Both are works of social criticism in which violence is a symptom of human and social disintegration. Like Wozzeck, Lady Macbeth is cast into a continuous shape in which scenes within an act are connected by orchestral interludes with which they share common motives. This through-composed structure is balanced in both Wozzeck and Lady Macbeth by division of scenes into discrete musical forms or genres. The musical climax of the opera occurs at its midpoint: the interlude separating the fourth and fifth scenes. Although it is connected by common motives to the love duet of scene 5, this interlude is a closed musical form—a passacaglia upon a ground bass introduced in measures 9-17. In an article for Modem Music (1935), Shostakovich describes the passacaglia as the place "in which the composer states his attitude

toward the tragedy." It is thus comparable to the final interlude of Act 3 of Berg's Wozzeck, also a symphonic reflection by the composer upon the dramatic sub¬ stance of his opera. Lady Macbeth was immensely successful in the Soviet Union after its premiere in 1934, but it was withdrawn two years later when its style and subject were criticized by the Soviet government. It was revised and retitled Katerina Izmailova (op. 114) in 1963, at which time it returned to the operatic repertory in the Soviet Union.

Bibliography Music of the Twentieth Century, Chapter 8. Lebedinsky, L. Preface to the full score of Katerina Izmailova, vol. 1. Moscow, 1965. Norris, Geoffrey. "The Operas." In Shostakovich: The Man and his Music, pp. 105-24. Ed. Christopher Norris. London, 1982. Shostakovich, Dimitri. "My Opera Lady Macbeth." Modern Music, 12 (1935), 23-30.

Discography Galina Vishnevskaya, Nicolai Gedda; London Phil¬ harmonic Orchestra, Mstislav Rostropovich, conductor. Angel SCLX-3866 (1979, orig. version). Eleonora Andreyeva, Eduard Bulavin; NemirovichDanchenko Musical Drama Theater, Moscow, Gennady Provatorov, conductor. Melodiya/Angel RCL 4100 (1967, rev. version).

157

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Shostakovich: Lady Macbeth of the Mtsensk, orchestral interlude

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PART IV CHORAL MUSIC ♦

22^

Anton Webern (1883-1945) Second Cantata, op. 31 (1941-43): Fifth Movement (" Freundselig ist das Wort")

The Second Cantata is Webern's last completed composition. With its large instrumental and vocal forces, six movements, and length of about twentyfive minutes, it constitutes the most substantial of all his works. Webern drew in this cantata upon six poems by his friend and confidante Hildegard Jone. The texts are not unified by narrative or theme, but they speak with great delicacy of several ideas that were embraced by Webern: love of nature, pantheism, and confidence in God's love. The fifth movement was conceived by Webern, as he remarks in a letter to Jone, as an aria. Its central point occurs in measures 25-26, upon the words, "because it fell silent on the cross." After this passage, Webern tells Jone, "what went before is now repeated backwards." The score of the fifth movement reproduced here is a piano reduction made by the composer in 1944. The original version uses a chamber orchestra in addition to soprano and bass soloists and mixed chorus.

it fell silent on the cross we must pursue it; our living being follows Him with all the earnestness of bitterness. But when it sounds again in the morning, we who are called blissfully respond. Blessed is the word. And when you see that it sees everything in you, then you will know this: it will bring you more pain than death if a cloud of hostility—mother of tears— spreads itself between you and Him and brings coldness.

Bibliography Music of the Twentieth Century, Chapter 7. Kolneder, Walter. Anton Webern: An Introduction to his Works, pp. 158-62. Trans. Humphrey Searle. Berkeley and Los Angeles, 1968. Moldenhauer, Hans, and Rosaleen Moldenhauer. Anton von Webern: A Chronicle of his Life and Work, pp. 573-79 and passim. New York, 1979.

Discography TEXT The Complete Works of Anton Webern, vol. 1. Halina Lukomska, soprano; Barry McDaniel, baritone; John Aldis Choir; London Symphony Orchestra, Pierre Boulez, conductor. Columbia M4 35193 (1978).

Blessed is the word, which, for our love, draws us to it. "Be not afraid, it is I"; be consoled through the darkness. It is in our midst when we are peaceful. For what can be in our midst other than the word? Because

181

182

Webern: Second Cantata, fifth movement

Copyright 1951 by Universal Edition, Wien. Copyright renewed. All rights reserved. Used by permission of European American Music Distributors Corporation, sole U.S. agent for Universal Edition.

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♦

23*

Igor Stravinsky (1882-1971) Mass (1944-48): Credo

Stravinsky intended his Mass to be used in the Roman Catholic service of worship. It is a setting of the five texts of the Ordinary of the Mass traditionally employed in musical settings, and Stravinsky calls for a modest number of performers and relatively concise lengths to make it all the more utilitarian. Echoes of earlier styles of Mass compositions will be heard in different parts of the work: Renaissance polyphony in the Kyrie, medieval organum in the Gloria, chant in the Credo, and the baroque polychoral concerto in the Agnus Dei. The instrumentation of the work, which consists of ten brass and woodwind instruments in addition to the chorus, is reminiscent of the chamber wind ensembles favored by Stravinsky from the time of Reynard (1916) to the Piano Concerto (1924). The instrumentation also has precedents in Renaissance sacred music in which choral parts were often joined by wind instruments. The Credo is the central and longest movement of the Mass. It is begun in the traditional manner of polyphonic Credos by an intonation in chant. The chorus then continues in a declamation in which rhythms, phrases, and cadences closely follow the sense and structure of the Latin words. The instru¬ ments add an unobtrusive support.

rose again, according to the Scriptures, and ascended into heaven. He sits at the right hand of the Father, and again He shall come with glory to judge the living and the dead. His kingdom shall have no end. And in the Holy Ghost, the Lord and giver of life, Who proceeds from the Father and the Son; Who together with the Father and the Son is adored and glorified; Who spoke by the prophets. And one, holy, Catholic and apostolic church. I confess one baptism for the remission of sins. And I await the resurrection of the dead and the life of the world to come. Amen.

Bibliography Music of the Twentieth Century, Chapter 10. Craft, Robert. "1949: Stravinsky's Mass: A Notebook.” In Igor Stravinsky, pp. 201-206. Ed. Edwin Corle. New York, 1949. Stravinsky, Igor, and Robert Craft. Expositions and Developments, pp. 76-77. Garden City, N.Y., 1962. White, Eric Walter. Stravinsky: The Composer and his Works, pp. 446-50. 2d ed. Berkeley and Los Angeles, 1979.

Discography

TEXT The Saint Anthony Singers; members of the English Chamber Orchestra, Colin Davis, conductor. Edi¬ tions de l'Oiseau-Lyre (1963). Stravinsky Conducts. Gregg Smith Singers; Columbia Symphony Winds and Brass, Igor Stravinsky, conductor. Columbia MS 6992 (1967). Chorus and Orchestra of the Belgrade Radio/Tele¬ vision, Borivoje Simié, conductor. Everest SDBR 3399 (1976). English Bach Festival Chorus; members of the English Bach Festival Orchestra, Leonard Bernstein, con¬ ductor. Deutsche Grammophon 2530880 (1977).

I believe in one God, the Father Almighty, Maker of heaven and earth, of all things visible and invisible. All in one; Lord Jesus Christ, the only-begotten Son of God. And born of the Father before all ages: God of God, light of light, true God of true God, begotten, not made, consubstantial with the Father, by whom all things were made. Who for us men and for our salvation descended from heaven; and was incarnate by the Holy Ghost, of the Virgin Mary; and was made man. He was crucified also for us, suffered under Pontius Pilate, and was buried. And the third day He

188

Stravinsky: Mass, Credo

189

The Priest

© Copyright 1948 in U.S.A. by Boosey & Hawkes, Inc. Copyright for all countries. Reprinted by permission.

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192

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194

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196

Stravinsky: Mass, Credo

Stravinsky: Mass, Credo

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198

Stravinsky: Mass, Credo

PART V CHAMBER MUSIC

♦24 ♦ Edgard Varèse (1883-1965) Octandre (1923):

First Movement Octandre is Varèse's work that most resembles traditional chamber music. The piece is divided into three movements, each in a clear and economical style. As the title suggests, it calls for an octet of instruments: flute, oboe, clarinet, bassoon, horn, trumpet, trombone, and string bass. Compared to Varèse's other music, Octandre con¬ tains a large amount of motivic recurrence. The primary thematic idea is presented in the oboe at the beginning of the first movement. This line is based upon a descending chromatic scale, but its alternation of ninths, sevenths, and minor seconds gives it a distinctive shape. Varèse has the instruments play with great agility and in extremes of register. Typical of all of his works, the instruments are grouped into a kaleidoscope of changing colors.

Bibliography Music of the Twentieth Century, Chapter 11.

Chou Wen-Chung. "Varèse: A Sketch of the Man and his Music." Musical Quarterly, 52 (1966), 151-70. Vivier, Odile. Varèse, pp. 50-57. Paris, 1973.

Discography Ensemble Die Reihe, Friedrich Cerha, conductor. Candide 31028; cassette CT 2303 (1970). Contemporary Chamber Ensemble, Arthur Weisberg, conductor. Nonesuch H 71269 (1972). The Varèse Album. Columbia Symphony Orchestra, Robert Craft, conductor. Columbia MG 31078 (1972). Musica Nova, Siegfried Naumann, conductor. Caprice RIKS LP 34 (1975). The Varèse Record. New York Wind Ensemble, Frederic Waldman, conductor. Finnadar SR 9018 (1977, recorded in 1950). Stratford Ensemble, Raffi Armenian, conductor. Canadian Broadcasting System (1980).

199

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♦

25*

Arnold Schoenberg (1874-1951) Fourth String Quartet, op. 37 (1936): First Movement (Allegro Molto; Energico)

Schoenberg composed his String Quartets nos. 3 and 4 upon receiving commissions from Elizabeth Sprague Coolidge—America's greatest patron of twentiethcentury chamber music. The Fourth Quartet was written in 1936, shortly after Schoenberg moved to the Los Angeles area, where he taught at the University of Southern California and the University of California, Los Angeles. The Fourth Quartet is one of his most accessible pieces in the twelve-tone idiom. It has a clarity of texture, diversity of color, and directness of rhythm that are less evident in his earlier quartets. The first movement invites comparison with traditional sonata form, although Schoenberg himself did not describe it in this way. In a brief analysis written in 1949 for record liner and program notes, he states that some themes recur "as landmarks or guides in a complicated organization where recognition is hindered by con¬ tinual transformation." He points to the line in the first violin in measures 1-6 as the main theme, which is recapitulated prominently in measures 165 and following and again at measure 239. The theme in the first violin at measure 27 functions as a connective,

transition, or element of contrast. The main sub¬ sidiary theme begins at measure 66.

Bibliography Music of the Twentieth Century, Chapters 4 and 7. Gradenwitz, Peter. "The Idiom and Development in Schoenberg's Quartets." Music and Letters, 26 (1945), 123-42. Rufer, Josef. Composition with Twelve Notes Related Only to One Another, pp. 140-53. Trans. Hum¬ phrey Searle. London, 1954. Schoenberg, Arnold. "Bemerkungen zu den vier Streichquartetten." In Arnold Schönberg Gesam¬ melte Schriften, vol. 1, pp. 430-35. Ed. Ivan Vojtëch. N.p., 1976.

Discography LaSalle Quartet. Deutsche Grammophon 2720029 (1972). Schoenberg: The Five String Quartets. Juilliard Quar¬ tet. Columbia M3-34581 (1977).

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Karlheinz Stockhausen (1928-

)

Kreuzspiel (1951, revised 1959): Introduction and First Section

plan to the Sonata for Two Pianos by Karel Goeyvaerts. Kreuzspiel was revised in minor details for a per¬ formance at Darmstadt in 1959 and for its subsequent publication.

Kreuzspiel (Cross Play) was Stockhausen's first essay in total or integral serialism: a compositional method in which the order of occurrences in several dimensions of a work are controlled or coordinated by predetermined series. In Kreuzspiel, pitch classes, registers, durations, and dynamics are thus organized and integrated. Kreuzspiel is in three connected sections with a thirteen-measure introduction. The introduction and first section are divided into subsections, each of six and one-half measures. Pitches, durations, and dynamics in the first section (mm. 14-91) undergo a crossing, which is suggested by the title of the work. At the beginning of this section, for example, the piano states six pitch classes in the high register |EbD E G A Ab| and the other six in the low register. These pitch classes then pass into all registers, and they are taken increasingly by the woodwinds. Finally, they return to the piano with registers exchanged. Similarly, durations and dynamics "cross" from a state of diversity to one of regularity (e.g., the steady crescendo and accelerando in the woodblocks in mm. 46-53) and then return to diversity at the end of the section. By Stockhausen's admission, Kreuzspiel is indebted in its integration of parameters and quasi-pointillistic texture to the piano étude "Mode de valeurs et d'intensités" by Olivier Messiaen and in its cruciform

Bibliography Music of the Twentieth Century, Chapter 12. Keller, Max Eugen. "Gehörte und komponierte Struk¬ tur in Stockhausens 'Kreuzspiel,' " Melos, 39 ( 1972), 10-18. Maeonie, Robin. The Works of Stockhausen, pp. 21-27. London and Boston, 1976. Stenzl, Jurg. "Karlheinz Stockhausen's Kreuzspiel (1951)." Zeitschrift für Musiktheorie, 3/1 (1972), 35-42. Stockhausen, Karlheinz. "Kreuzspiel (1951 )." In Texte zu eigenen Werken, vol. 2, pp. 11-12. Schauberg, 1964. Toop, Richard. "Messiaen/Goeyvaerts, Fano/Stockhausen, Boulez." Perspectives of New Music, 13 (1974), 141-69. Discography London Sinfonietta. Deutsche Grammophon 2530443 (1974).

239

240

Stockhausen: Kreuzspiel, introduction and first section

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® Copyright 1960 by Universal Edition (London) Ltd., London. All rights reserved. Used by permission of European American Music Distributors Corporation, sole U.S. agent for Universal Edition.

Stockhausen: Kreuzspiel introduction and first section

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= strike the head and the rim at the same time with the soft tip and shaft of the beater.

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Stockhausen: Kreuzspiel, introduction and first section

Stockhausen: Kreuzspiel introduction and first section

243

244

Stockhausen: Kreuzspiel, introduction and first section

Stockhausen: Kreuzspiel, introduction and first section

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Stockhausen: Kreuzspiel, introduction and first section

Stockhausen: Kreuzspiel, introduction and first section

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27*

George Crumb (1929-

)

Black Angels (1970): Sections 6 and 7

Crumb's Black Angels for amplified string quartet is a symbolic and eclectic study in sound that represents the voyage of a soul through good and evil. The work consists of thirteen sections or "images," which are arranged symmetrically and articulated at the begin¬ ning, middle, and end by passages called threnodies. As symbolic references to good and evil, there is a pervasive use of the numbers 7 and 13. These are expressed by the lengths of phrases, repetitions of pitches or figures, durations, numbers of semitones between notes of important chords, and similar devices. In the sixth section, which cryptically expresses "13 under 13," three strings imitate a consort of viols in a funereal Pavana lachrymae. The music contains a quotation of the opening of Schubert's String Quartet in D minor (Death and the Maiden). A violin punctuates the dirge with insect-like sounds. The

248

seventh section is the central threnody, "Black Angels!" References to the numbers 7 and 13 are abundant, and the strings imitate the "devil's trill" of Tartini's violin sonata of this title.

Bibliography Music of the Twentieth Century, Chapter 15.

Discography New York String Quartet. Composers Recordings CRI SD 283 (1972). The Avant-Garde String Quartet in the U.S.A. Concord String Quartet. Vox SVBX 5306 (1973). Gaudeamus String Quartet. Philips 6500 881 (1974).

Crumb: Black Angels, sections 6 and 7

249

Solo Obbligato: Insect Sounds sol pont. Sempre

6.

Pavana Lachrymae

[Trio]

(der Tod und das Mädchen) 13 under J Q -

Grove, solemn j like a consort of viols (a fragile echo of an ancient music) Sul A Sempre (

J=30 (J = feo)

subito piu lento (J = 50) i 4

■ftisr?

(al nient«)

The Sound of vio'» •* produced, by bowing near pegs (onvVrong^ Side of left hand). Ail player* Should hold bow* in the manner of viol player*. Violin and viola should be held lilCe viol*. The fingering will naturally be reversed-, but a little practice will ensure accuracy in pitch. The be¬ ginning pitch could be Indicated, by a chalK marfc on the fingerboard.

7.

Threnody Ih Black Angels! [Tutti] [7 times 7 and 13 times 13 Furiously, with great energy!

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4Ö This piece should be performed in a very -fire« manner. HoWever, all precisely indicated duration* should be approximately in tempo.

4 • a percussive pizzicato

Copyright ® 1971 by C. F. Peters Corporation. Used by permission.

0 the numeral thirteen in Japanese, Russian, and. Swahili. •Pronounce: Joo-Sahn, Tree-naht-saht, K®o-me*nab*tab-too (g- slight paus« between syllables)

250

Crumb: Black Angels, sections 6 and 7

♦

28*

Steve Reich (1936-

)

Clapping Music (1972)

Clapping Music is the last of Reich's "phase" compositions—in an idiom that occupied him from 1965. In phase music, two or more like-sounding instruments or tape tracks begin in unison sounding a continuously repeated figure. The lines then move out of phase, which produces new rhythmic and melodic fragments by the interaction of parts. In Clapping Music, the two lines do not move gradually out of phase. The second performer instead leaps abruptly at the beginning of each measure an eighth note ahead of the first performer. The piece ends when the two performers have returned to unison.

Bibliography Music of the Twentieth Century, Chapter 16. Reich, Steve. "Notes on Composition 1965-1973." In Writings About Music, pp. 49-71. New York and Halifax, 1974. Schwarz, K. Robert. "Steve Reich: Music as a Gradual ProcessPerspectives of New Music, 19 (1980-81), 373-94; 20 (1981-82), 225-86.

251

252

Reich: Clapping Music

Directions for Performance The number of repeats is fixed at 12 repeats per bar. The duration of the piece should be approximately 5 minutes. The second performer should keep his or her downbeat where it is written, on the first beat of each measure and not on the first beat of the group of three claps, so that the downbeat always falls on a new beat of the unchanging pattern. No other accents should be made. It is for this reason that a time signature of 6/4 or 12/8 is not given - to avoid metrical accents. To begin the piece one player may set the tempo by counting quietly; "one, two, three, four, five, six". The choice of a particular clapping sound, i.e. with cupped or flat hands, is left up to the performers. Whichever timbre is chosen, both performers should try and get the same one so that their two parts will blend to produce one overall resulting pattern. In a hall holding 200 people or more the clapping should be amplified with either a single omni-directional microphone for both performers, or two directional microphones; one for each performer. In either case the amplification should be mixed into mono and both parts fed equally to all loudspeakers. In smaller live rooms the piece may be performed without amplification. In either case the performers should perform while standing as close to one another as possible so as to hear each other well.

® Copyright 1980 by Universal Edition (London) Ltd., London. All rights reserved. Used by permission of European American Music Distributors Corporation, sole U.S. agent for Universal Edition.

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George Rochberg (1918-

)

Sixth String Quartet (1978): Third Movement (Variations [on Pachelbel])

which are drawn from the celebrated Canon in D major by Johann Pachelbel (1653-1706). The style of the variations is decidedly flexible, as it begins in the manner of a baroque trio sonata and moves by measure 49 to the impassioned language of Mahler and early Schoenberg.

George Rochberg's Sixth String Quartet is the last of three Concord quartets, named after the group for which they were written. These pieces continue the eclecticism of Rochberg's Third String Quartet in which styles from the baroque to the twentieth century are mingled and in which tonality and lyricism are unabashedly revived. Rochberg pays special homage in these quartets to Beethoven, Mahler, Berg, and Bartök. The Sixth String Quartet is in five movements whose centerpiece is the Variations (on Pachelbel). This movement takes the form of baroque variations: continuous variations, that is, upon a four-measure bass line and descending melodic figure, both of

Bibliography Music of the Twentieth Century, Chapter 15.

Discography Concord String Quartet. RCA ARL2 4198 (1982).

254

Rochberg: Sixth String Quartet, third movement

® 1979 Theodore Presser Company. Used by permission of the publisher.

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Rochberg: Sixth String Quartet, third movement

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'W‘ M DATE DUE

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L__—— 780.904 W97 Music of the twentieth century

780.904 M97 Music of the twentieth century

This superb selection of scores can easily stand alone as an analytical intro¬ duction to tua most representative and influential music of our time. At the same time, it is a companion volume to Bryan Simms’s text MUSIC OF THE TWENTIETH CENTURY: STYLE AND STRUCTURE. Here are 31 selections by 26 composers, most of them complete works, the remainder, complete sections. Arranged first by genre and then chrono¬ logically, the selections illustrate the compositional styles, tools, and tech¬ niques of 20th-century music. Bryan Simms has chosen works that demonstrate a broad range of stylistic and developmental techniques; as in his accompanying text, he focuses with equal care on stylistic evolution and the new principles by which this remarkable music is organized. The anthology covers the following genres and composers; Music for Piano: Satie, Debussy, Ravel, Bartök, Milhaud, Schoenberg, Cowell, Prokofiev, Cage Music for Solo Voice: Fauré, Berg, Ives, Hindemith, Britten, Boulez, Berio, Davies Dramatic and Orchestral Music: Strauss, Berg, Shostakovitch Choral Music: Stravinsky and Webern Chamber Music: Schoenberg, Varèse, Stockhausen, Reich, Crumb, Rochberg Each selection was chosen for its analytical value, its importance as a rep¬ resentative of an aspect of 20th-century music, and to provide as broad a range of composers and styles as possible. The selections are accompanied by concise narrative introductions that summarize technical and stylistic features of the work and its place in its composer’s repertory; a general in¬ troduction to the book explains Simms’s criteria for selection. Included are new text translations, a summary discography, and concise bibliographies of analytical discussions of the pieces. About the Editor BRYAN R. SIMMS received his Ph.D. from Yale University and is cur¬ rently associate professor and chairman of the department of music history at the University of Southern California. Also active as a theorist, he has served as editor of the Journal of Music Theory and of Music Theory Spec¬ trum; he is on the editorial board of the Arnold Schoenberg Institute.

Other Anthologies Available from Schirmer Books MUSIC IN THE CLASSIC PERIOD An Anthology with Commentary

F. E. Kirby MUSIC IN THE ROMANTIC PERIOD An Anthology with Commentary

F. E. Kirby

SCHIRMER BOOKS

©

1986 MACMILLAN. INC.

A Division of Macmillan, Inc. New York Cover illustration: Vasili Kandinski, Improvisation 19. Courtesy of the Städtische Galerie im Lenbachhaus, Munich. Cover design by Mike Mclver

© A.D.A.G.P., Paris/V.A G.A., New York, 1985

ISBN □-□E-Ö73DED-0