Franz Joseph Haydn (1732-1809) Symphony No. 56 in C Major, Hob. 1:56 Allegro di molto (first movement) 94 CD 7 CD 3: 2 Oboi (Fag-otto) 2 Corni in Do/C alto 2 Clarini in Do/C Timpani in Do-Sol/C-G Kritische Ausgabe sämtlicher Symphonien, ed. H. C. Robbins Landon, Philharmonia No. 593, Universal Edition, 1963. Copyright 1951 by Haydn Society, Inc., Boston. Internationa) copyright secured. 94 94 FRANZ JOSEPH HAYDN Symphony No. 56 in C Major 48 <12 §—1 1 - t i Ft =^ ^1 r rr 1 # 1 ■ r r ■ ft 1 'A - 1 ' ' LJt :j.t > 1 -C—r_LJ J?- ' J J j J r -| J m -f—3— 4— FF=-L . r HU 1 ,■ r r r 1 1 J ' ' T—H 1 I,,, f r 1 -LLH- -*-f— ft f i finr Tt!U - !••[! Drv. il! 1.2. Kilo B 3. 4. 1. 2. Hr. In K o. D. 3.4. J - J (J - daher 80) 145 k I. Tr. Clanino Woji ---H p Ír- í d«n Klsvlfrapfcler üb«rsHirefend thtn, thoutlng úown th€ pianiat _/ Es rlt - ten drei Rei-ter wohl. Three koru-then came rid-ing up J > J (d ■ daher 80) 145 an den Rhein, Bei ei . ner Frau Wir - tin da to thr Hhtne, Jnd wenl to my Ao.il-na to 2. VI. VI« 760 137 ALBAN BERG Wozzeck subito meno allegro (J = 6o) g«si»pft H" a tempo (J. J . i6o) 155 ]i«Kt auf Aar... Wr-dammt! Hex on her... Be damned! Komm, Mur-jcret! Come, Mar-gret! subito meno allegro (J = eo) a tempo (J» J * ieo) 155 137 ALBAN BERG Wozzeck 761 rit. _ . Wieder meno allegro (ritardierte J « neue J - 60) poco rit. 160 Englli. Planino nimmt 4. Üb. i-1 die Singatlmme fortsetzend j dimin. —wf L2.MÍun«n Dpf, foA»£ W/.; Plvlzlirh.- UnterbrefhunK MeiM plötzlich Kteiien ff, führt nie an »einen Tittch und zieht sie auf Reinen Schuß nieder It-ad* her to hin tablr, and putls her on hin lap Kumm setz Dich her, Mar Come, lei's nit down, Mar rit. _ _ Wieder meno allegro (irlffhretl gret! gret! 2. VI. VI» gel. PPI> volto p 762 137 ALBAN BERG Wozzeck noch etwas langsamer (J = 40) « Z (avsnt. nur ein»)_ff ' ' ---— 1.2. Fl. Beck, frelhgd w j J j t ; -j—i j j j j"1 jí * pp geftchlagen mit dem Schwamm-schlüget und klingen lassen . f abdämpfen auf Woxrecks Schufi on Wozzecka lap Werft. Mar . jcret, Du bist so hellt.. Mar - fcret, you're hot ,nj',j - * («ol lflgno rwitr.) ' * * *> '-1 pp ~*^=-1-?— H—i— \^ R«wöhJil.g6atr. l---t-X-X.-1-1^.-1 * Jt—t-- (eol IfÄBO ffMtr.) y r - 1. Solo Vir, 2. Sol.' 4 tr 200 137 ALBAN BERG Wozzeck 769 205 Lea fg. H" Plmnlao ».d. Bfih Marg. Wo». — dar -an_ ab H" s. 1.Ttn.Iolo»7>^ilj Was wollt_ Ihr? Wa»l_ gAtiEuchan? fPkat mtan - you? TAais. my af-fair. Tan. 0) 2 Solo Vlc Kb. all« Viola« 9 «Ol logno gaaü* 205 3 Soli gew.gMtr. > I all» Kb«. _ool l«rno *e«tr. -ig- wrp mf 770 137 ALBAN BERG Wozzeck 2 Bajj» Blut Blood 1. 137 ALBAN BERG Wozzeck 771 210 mit d*o Sopranen und di*M forUctzsnd • 2 n .A... . „»_*---------.-- V H- *jr-f t--- J"'J J >J ^ V IT —,—rr^-n- :ü i >r — - -I mtnqf trr1 - —d l.Ä.KI. L2.3.4.K1 in B HU. In B L2.3.Fg. Klg. Vorhang fällt rasch . biuii-n..:«i. Biut- _l Verwandlung Change of scene inenoj 772 137 ALBAN BERG Wozzeck 215 .I.VPlcc. 1.2.Kl. 1.2. Ob. 3.4. 1.2 Kl.in B 3.4. 1.2..1.FR. ff Ii -4^- -fr- ---— i-=- — "2, ft"I -p3=}= 1 ff rrn rn m m i— 6 — > Ii J M j -J^ h J_jL_L_ • bi • • a a p p p p if «2 $ ijt3J *-——-——i —i—L t» k# 1/ ■—k-,—- ' ifj J J J J j— •/ hJ1 j J-Ü J J J j 1 r ült '---------1 .......T \4 4 4—4 4 4 4 4 4' -ff Vlc. 774 137 ALBAN BERG Wozzeck Alban Berg completed Wozzeck in 1921, and the opera received its first performance four years later in Berlin. Berg adapted the libretto from a play of the same name by Georg Biichner (1814-1837), which Berg saw in 1914 at its premiere in Vienna. A wild polka introduces the rhythm, which becomes the theme of this scene. In the previous scene Wozzeck murdered his mistress, Marie, the mother of his child, because she had betrayed him with a fellow soldier, the Drum Major. Now Wozzeck sits in a tavern singing and drinking. He asks Margret, the barmaid, to dance with him; after they dance she sits on his lap and sings a song, during which she notices blood on his hand. He becomes agitated and obsessed with his blood. In the first four measures a barroom piano announces in the right-hand part both the rhythmic theme and a set of six pitches, G-E-A-F-E\>-D\>. The pitch-set, nearly a whole-tone scale, recurs frequently throughout the opera. The music of the scene is constructed like a medieval isorhythmic motet. A set of eight durations is continually reiterated, sometimes in diminution, sometimes in augmentation. It pervades the entire texture, even the voices. After Margret discovers the blood on Wozzeck's hands (measure 185) the two begin a canon on the rhythm, in which first the chorus (measure 202), then the instruments join. The harmony rises in a whole-tone succession of major sevenths (measures 187-207). Wozzeck's obsession with his guilt, symbolized in the persistent rhythm, shrieking dissonance, and the whole-tone scale formations, reaches an almost unbearable intensity. 744 135 ARNOLD SCHOENBERG Pierrot lunaire: No. 13 nimmt Kla- sehr große Pause, aber quasi im Takt, dann folgt: Gebet an Pierrot. Klavier, Klarinette in A. b) No. 13: Enthauptung 47 i • iyii y^yi»^"J ,I,J'"^'l|V>J| Der Mond, ein blan-Kes Türkeiischwert auf einem schwarzen 135 ARNOLD SCHOENBERG Pierrot lunaire: No. 13 745 9a>.. ZV, r 1 bprittuttit Haiiptsiimme 746 135 ARNOLD SCHOENBERG Pierrot lunaire: No. 13 _drs _ ängsten zum Mond ,dem biani . ken Tür . kenschwert auf einem schwär . len ohn.mächtig bricht er jiili_ zusammen. Er wähnt:_es sause strafend schon auf sei.nenSiindenhulsher. aecel. .4. a _d i i M ff m 748 135 ARNOLD SCHOENBERG Pierrotlunaire Finstre, schwarze Riesenfalter Töteten der Sonne Glanz. Ein geschloßnes Zauberbuch, Ruht der Horizont—verschwiegen. Aus dem Qualm verlorner Tiefen Steigt ein Duft, Erinnrung mordend! Finstre, schwarze Riesenfalter Töteten der Sonne Glanz. Und vom Himmel erdenwärts Senken sich mit schweren Schwingen Unsichtbar die Ungetüme Auf die Menschenherzen nieder ... Finstre, schwarze Riesenfalter. Gloomy, black moths killed the radiant sun. A sealed book of magic, the horizon rests, taciturn. From the vapor of forgotten depths rises a fragrance, killing memory! Gloomy, black moths killed the radiant sun. And from heaven earthwards they sink with ponderous oscillations— invisible monsters— down to the hearts of men ... Gloomy, black moths. ENTHAUPTUNG Der Mond, ein blankes Türkenschwert, Auf einen schwarzen Seidenkissen, Gespenstisch groß—dräut er hinab Durch schmerzensdunkle Nacht. Pierrot irrt ohne Rast umber Und starrt empor in Todesängsten Zum Mond, dem blanken Türkenschwert Auf einem schwarzen Seidenkissen. Es schlottern unter ihm die Knie, Ohnmächtig bricht er jäh zusammen. Er wähnt: es sause strafend schon Auf seinen Sündenhals hernieder Der Mond, das blanke Türkenschwert. —Albert Giraud, translated from the French by O. Erich Hartleben DECAPITATION The moon, a polished scimitar set on a black silken cushion, ghostly vast, menaces downwards through pain's dark night. Pierrot wanders about, restless, and stares on high in death-agony at the moon, a polished scimitar set on a black silken cushion. His knees knock together under him; swooning, he collapses abruptly. He fancies: let it whistle punishingly already down on his guilty neck, the moon, the polished scimitar. 135 ARNOLD SCHOENBERG Pierrotlunaire The full title of Schoenberg's cycle of songs, from which we have selected two, was "Three times seven poems from Albert Giraud's Pierrot lunaire." Completed in 1912, the set was scored for a speaker and five musicians, some of whom doubled on a second instrument: flute (piccolo), clarinet (bass clarinet), violin (viola), cello, and piano. Schoenberg set a translation by O. Erich Hartleben. The voice throughout the cycle declaims the text in a so-called Sprechstimme (speaking voice), approximating the written pitches but keeping closely to the notated rhythm. For this effect Schoenberg used the sign j. Some of the pieces rely on constructive devices such as canons to assure unity, since they cannot depend on chord relationships within a tonality for this purpose. In No. 8, Nacht (Night), Pierrot sees giant black moths casting gloom over the world, shutting out the sun. Schoenberg calls No. 8 a passacaglia, but it is an unusual one because the unifying motive, a rising minor third followed by a descending major third, reappears constantly in various note values throughout the parts. The ubiquitous ostinato is a fitting artistic distillation of Pierrot's obsession with the giant moths that enclose him in a fearful trap. No. 13, Enthauptung (Beheading), shows another side of Schoenberg's music at the time. Thematic development is abandoned for what appears to the listener as anarchic improvisation, subject only to the changing message of the text. Here Pierrot imagines that he is beheaded by the moonbeam for his crimes. The first five measures sum up the poem and include a cascade of notes—partially in a whole-tone scale—in the bass clarinet and viola depicting the sweep of the scimitar. The next ten measures evoke the atmosphere of the moonlit night and Pierrot scurrying to avoid the moonbeam. Augmented chords in the piano evoke the image of his knees knocking. The piece ends with the downward runs heard before, this time in the piano, while the other instruments play glissandos. An Epilogue recalls the music of No. 7, Der kranke Mond (The Sick Moon). Just as certain expressionist painters distorted representations of real objects to reflect their feelings about their surroundings and themselves, so Schoenberg used exaggerated graphic images and speech inflections in this work to express the poet's inner feelings. Igor Stravinsky (1882-1971) Le Sucre duprintemps cd 11 Danse des adolescentes I34 41 <34 Tempo giusto i h t l '. = Solo co* tord. g=----------------j 'm - =| piií. i, iŕp , i'c i '7 f r r 1 = M, i i i i —i i i i— i" i i i v ✓ i li i - 1 1 1 1 i i i i g>" U. J. j j J j i-J* J. J. J. '.J. Ji Jp i. > bJ. J. J. J.= a J» J» Jt J. .1 J. J*= ■i.bi J Jr-J- bJ J J J > bJ J J J bi| 2 ,. -j •-' 1 "TT-T-J**1 Ti-T-/—1 , ri .Pi —vfc^ ■I--T—P-T- : J * l,J J d J ~ m ''jj •* j ; V-^~ rJ-- i** j ' j= -j-- ----111 ~^^m^mBSms£^ [i - = i,ý = ^_» mf < i ' iii, i i i i /--. " : i i ' 1 1- I I I I y" a j. j^p gib, j J J J j. j. j.= J. j. j. j. >ř P r f >r ŕ ŕ f f r: ==■=< pili. i ŕ r= f f r , i'Y r r r -.—3—.—.— -*—w /oco meno/ pin. rJ > * r r r r 1 r -1— S /oco meno/ 134 IGOR STRAVINSKY Le Sucre du printemps 723 134 IGOR STRAVINSKY LeSacreduprintemps 725 39 > > >_* C.F.j. I 12, 3 4 5.B 7 8 ' i .ULI J > > C. Fag. 1 ť1, aj.TJ pi*/ mm s k A. 3«ŕ>. smb. mm m id 726 134 IGOR STRAVINSKY LeSacreduprintemps C F.« 1 p smí» n.,, i C.Fii I 2«! Cor. in F» ' 3.7 i 48' Timp G C r1' a-iu m . jtr* XT V^—./r Bi.y j j j i" > JJ .,LI. w. J J j - u J J 'J u J J J j1 j' j j U J j J U' J "JI krm ""^ U 1 ' xr •reo t Ah, r3 3 3^ U/ffffl 3 3 3 3 dd 3 3 3 3 dd 3 3 3 3 dd 3 3 3 J dd 3 3 3 3 dd 3 3 3 3 tad Jírco fi.ř ^ ./r * 134 IGOR STRAVINSKY LeSacreduprintemps 727 Fl. pice C. ing. 79 ffrV- . - Sólo »1*1 Čt*. [TJ ] J—'j H rrr-i J-l ..i i, n i*i i *---JS^-- ti—f*n*5-3±& ^ rrjr H J y J M J y J Cl. in Sít g ja^V-......-............. - ^-^ Tr. in Do 1 | •gTfr!-- 134 IGOR STRAVINSKY Le Sacre du printemps 729 730 134 IGOR STRAVINSKY Le Sacre du printemps Fl.,,. CI in Sib 1, Cl, bo. io Sis '•f C. F»| 1—. l—1 Tiap 4 134 IGOR STRAVINSKY Le Sacreduprintemps 731 - teL^f4=U=.rl i r i L frfU^ r lr-r i l ■ r ■ r I ■ r 732 134 IGOR STRAVINSKY Le Sacreduprintemps 127 > 134 IGOR STRAVINSKY LeSacredu printemps 733 133 C], pice, in Mit P Sa». Fl.picc. I 734 134 IGOR STRAVINSKY LeSacreduprintemps 145 Fl. pice. 1 Fl ,r. C. lof. CI. pivc. in Re CI ipSik J< Fe» 3 C. F>» til 3A ■Ť--^ i bi p ft = -,-š-i-»---- VI 11 div. Vie. div. '/r EJ »J Ľ »J EJ»JLJ»J 134 IGOR STRAVINSKY LeSacred u printemps 735 736 134 IGOR STRAVINSKY LeSacreduprintemps 738 134 IGOR STRAVINSKY LeSacreduprintemps 134 IGOR STRAVINSKY Le Sacre duprintemps 739 740 134 IGOR STRAVINSKY LeSacre duprintemps The large number of Russian folksong quotations and folklike tunes employed in Le Sacre should have made the music quite palatable to the Parisian audience that first saw the ballet in 1913. But there were disturbing features of both the music and the scenario, which calls for an adolescent girl elected for sacrifice to dance herself to death. One of the most unusual passages is in the second scene, the Danse des adolescentes (Dance of the Adolescent Girls). The lower strings, divisi, play an E-major triad (spelled F\r-A\r-C\>) while the upper strings, also divisi, sound a first-inversion seventh chord on Eb. This collection of pitches approximates the octatonic scale, E\>-E-(FI)-G-A-Bi-C-Dl-E\>—a scale that alternates semitones and whole tones. This scale does not account, however, for the At or C\> that are heard in the unusual sonority. The barring is regular but marked with an extraordinary pattern of syncopations and accents. Eight horns doubling the notes of the strings reinforce the accented chords, which group the eighth notes as follows: 9 + 2 + 6 + 3 + 4 + 5 + 3 (=32). This destroys any feeling of metrical regularity, yet the passage forms an eight-measure period. Then for four measures the English horn plays a fragmentary melody with the three of the uppermost notes of the octatonic scale against arpeggios that spell out three complementary notes of that scale, though a foreign B again intrudes. Now the pounding chords resume, but leaving out the first four beats, so that the pattern becomes 5 + 2 + 6 + 3 (=16) for another four-bar phrase. The passage is cleverly conceived for ballet: the dancers can continue to count four-measure phrases while the spectator-listener is utterly disoriented metrically and rhythmically. Later the three top notes of the chord—Bl-D\>-E\>—are combined with five notes of the C-major scale to form another ostinato pattern against which a modal Russian tune is played in the French horn and flute (measure 89). This tune, heard in several keys over a variety of ostinatos, dominates the remainder of the excerpt.