Modest Musorgsky (1839-1881) Bezsolntsa (Sunless) cdh No. 3: Okonchen prazdnyi, shumnyi den' (The idle, noisy day is over) I25 I Moderate assai. 00 «■ KOH . SCH npa3R.HhlH, UlyM . HfalA flCTb; JlOflXKA . n >KH3Kb, y f —»-»■ . MOfiK.HyB, flpeM.neT. Bee tm . xo. MapLCKOH HO . MH TeHb CTO. /IH.Uy 5 EE ens.my. 10 oot>. eM.neT. Ho coh ot rna3MO>tx oe. wkt 0 0 H.npH ny 5<» 5^ -e- i 593 594 125 MODEST MUSORGSKY Okonchenprazdnyi --_-- —---- \ ' v.......i, , - ^_ ^_^—i— ^—_^_e--- Max m . höh äch . HH . uu, Bo . o .6pa . »ce. hh . e sep.tht ro -Jt-----S-- ^yia-6-= . r—F— —■« —irij -es PP --------,— p---U~ m — i—« 4- 1-kJ 1-& ,14 h_ 5 i •o* y . Tps.<4«i.KUx 9Tpa. hh . uu. KaK ôyjt.To bhok. bau . xa i -i r- Be ceH . hhx, cTpacT . hux 19 _-, ,--—, ,-- '—1—n 1 T CHo BH . Ae.HHH,Bfly . uie * boc . tepe . uja 10 pnn hí 3 3 3 3 3 3 125 MODEST MUSORGSKY Okonchenprazdnyi 595 Q . ' 3 1 S -M----_-1--L_---^- i* —1~ L ^ ^—«?—te— t r p-ii=L J * i aejKfl,_ no. pw. bob, sa. 6nyjK-Äe . hmh ... y. í (J 1 ''I U a_ íééíééé /TN ppfoco ritard. 24. Bbi, to npH.3pa.KH oa . Jí.-1-1-- hmI Mne CKy -1-e-k H . ho c Mepr-boh hx Ten. nc 1 ,| \ p a temfo > ■—^—s -,. 11 [i: ~Mr—-^ -\--U 1-sj- 7 j_ -V- K •• "- — - 27,___) 1—3~1 uiyM Mx CTa . poň 6on . tob . hh y . *t He b/iac.TeH Ha. mho.io. Hmib 31 Andante cantabile TüHb, ojj . Ha_ H3 3C?X Te.HeH, H . BH . M.CÍ MHC, Ähl . LUa_ fiö. co.BbK). M, 125 MODEST MUSORGSKY Okonchenprazdnyi ,33 Bcp. KUMJjpyr mu . HyB. mux imeň,Cksio . hh . nacb tm . xokhs . ro.jiojuo. H 35 p0 CMe no OT . Aan eň ca. höh Ben &y - my sene . 125 MODEST MUSORGSKY Okonchenprazdnyi 597 39 ritard. Baie. ae, Jiaa. ho xpa hh MP non- hoh, mhohI The idle, noisy day is over; grown silent, humankind slumbers. All is quiet. The shadow of the May night engulfs the sleeping capital. But sleep escapes me, and by the rays of another dawn my mind leafs through the pages of lost years. As if renewed, breathing the poison of springtime's passionate dreams, I resurrect in my soul a series of hopes, desires, delusions____ Alas, they are but phantoms! I am bored with their lifeless crush, and the noise of their old chatter no longer has any power over me. Only one shadow of all the shadows appeared to me breathing with love, as a faithful friend of days gone by bent gently towards my pillow. Boldly I surrendered to her alone all my soul in silent tears seen by no one, full of happiness... in tears that I have long conserved. This song is remarkable for its harmonic successions, such as the Gt-major triad going directly to a seventh chord on G (measures 6-7, 14). Such juxtapositions and also certain simultaneous combinations appear to be chosen for their color rather than for their direction. The tonality remains clearly C major, which is reaffirmed repeatedly (measures 8,10, 15-23, 30, 37, and in the final cadence). Yet the narrow-gauged melody, which stays within a fifth against rapidly shifting chords, perversely introduces B> and A\> in defiance of the tonality of C. And between the C anchors Musorgsky's harmony roams all over the chromatic scale and in one place in the vocal line (measures 35-36) suggests the whole-tone scale. (See also the commentary on Debussy's Nuages, NAWM 128, where we show that Musorgsky's accompaniment figure of measures 16ff. has been borrowed by Debussy.) Carl Maria von Weber (1786-1826) Der Freischütz 120 cd 10 Act II, Finale: Wolf's Glen Scene nu J ři a it Sostenuto 4 Flöten 2 Oboen 1 Klarinetten in ft Kaspar Violoncell Kontrabässe Reprinted from Der Freischütz (New York: Broude Bros., n.d.). 479 482 120 CARL MARIA VON WEBER Der Freischütz Fl. g'- Ob. Klar, in A Fag. I.II, in D| Hr. III.IV. in C I.II. Pos. III. Viol. irrt i > • > 'Hundegebell und Wiehern in der Luft. Nebelpeatalten von Jägern tu Fuß und zu RoB, Hinchen und Hunden liehen in der Höhe vorüber) J4* > . > . m Fag. I. In BI r i1 r > > > > > > > > > > b« IŤ m ~W ý r Fr Fi J F F F F T * r r > > ,, p* P'_ H" * 7 r r > > f' r" ľtcj r t e r F > . > . E ■ ■ p > . > . r pp r 3 3333 > > j 3 333 > > Hr. In F" lll.l\ In E Pos. III. Chor (uniichtbarl i! Tenor IŽ e e . ,»e ff Ž ff ,1 Chor Vcl. Kb. B*B Durch Berg und Tal, durch Schlund und Schacht,durch Tau undWolken.Sturm urklNachtdurchTauundWolken.Sturm und >->- L > > ,l,rrf > ,t,rPP > |l>f ■ r ■ |I>P * 120 CARL MARIA VON WEBER Der Freischütz 509 ho, wauwau,Jo ho,wauwau, Jo ho ho ho ho ho ho ho! 510 120 CARL MARIA VON WEBER Der Freischütz 120 CARL MARIA VON WEBER Der Freischütz 511 Klar. In fl Trp.lnC 512 120 CARL MARIA VON WEBER Der Freischütz J89 zu % _ ÜÜ kl. Fl. Ob. Klar. In A zu t » §§1 us Fag. I.II. In Fl Hr. III.IVJ In E Trp.InC I.II. Pos. Pk. I. Vlol. I/J Br. Vcl. Kb. üs auf >\ rr iJ r 120 CARL MARIA VON WEBER Der Freischütz 513 3V7 zu t kl, 8r. m éé i Ob. Klar.lnA ep* éé Fag. 1.11. In F Hr. . III.IV. In E V Trp. In C l.ll. Pos. III. Pk. 0 f-ft-sUiXf ééě m &=4 Viol.. II.1 Br. Vcl. Kb. -XT m i im m m é=éé Up mm m Kaspar (zuckend und schreiend) Samici! Samlel! ?r «>rd iu Boden g-eworfen) hilf! 514 120 CARL MARIA VON WEBER Der Freischütz 9" Ob. Klar. In A Fag. I.II. InF Hr. III. IV| In E Trp.lnD I.II. Pos. III. Pk. Vlol. i II. Br. Sieben! Vel. y j j. j = Max (gleichfalls vom Sturm hin- und herge-•chleudert, [springt aus dem Kreil,] faBt einen Ast des verdorrten Baume* und schreit) Samtel! (In demselben Augenblick fingt daaün-gewitter an sich tu beruhigen, an der Stelle des verdorrten Baums steht der schwane Jäger, nach Maxens Hand fassend.) . ... I SamielW§gäSeVHl«r bin Ichl m (Max schlägt e ^444= n Kreut und stiirit > > 120 CARL MARIA VON WEBER Der Freischütz 515 Franz Schubert Winterreise, D. 911 Der Lindenbaum 12 cd 9 30 Singstimme, Pianoforle 7 Am Brunnen vor dem Thu. re da steht ein Lin.deiL.baum; ich träumt' in seinem i'/» iJ I ff Schatten »o - 1- 1 y L - .y T -.—4> ' J -nanchen kü .«senr _|--1-- ^raum. Iehs -n J J J J J ihnitt in Beine J3^= Hin.de so :=^=¥: 1 ^- -fr-f +^ if 7 Jil j)i n r n inanclicK liebe Wort ex zog inFreud'und Lei.de zu ihm.mich immer fort mm in IM Reprinted from Breitkopf & Härtel Critical Edition of 1884-97, Series 20, Vol. 9. 375 112 FRANZ SCHUBERT Der Lindenbaum 28 3 1 *" loh r musst auch heu.te -—J-w.iii - der — >' i ) vor. bei in tie. fi-r ^-jf-i—F=r*l—?=r*T" Nacht, ila § ■ *' ' f»-fr-f-M. f i¥n g r " hab ichi och im —-< Dun . k - »-JJ-I .0 rlip Au _ gen zu - Lgl-/ü macht. Und ii . iw Zweigt' rfrJ—TT- 4. • ■ »-m-f—H« * 17 : y > ■ 7 3^ ri 7| LiLt71 ^ rausch . teil, als ric . fen sie mii zu: komm 1 nffni), 1 her zu mir,Ge rfij K t . sei . Ie, hier g> Im 1 r7 111' 1" 112 FRANZ SCHUBERT Der Lindenbaum 377 ~*~————————————---_ 1 J ■ 1- -j— J JjfJ JJ Jj ^ 33 58 1-1 1r= » i * un bin ich manche Stun . de ent.fernt von je. nem Ort, und im . merhör'ich's rau. sehen: du fän . dest Ru.he dort! ist m m Nun bin ich manche 68 PT T P1 r- p*J de ent_fernt von tenei f Stun jenem Ort, und im . me"rhör' ich's rau . sehen: 112 FRANZ SCHUBERT Der Lindenbaum Am Brunnen vor dem Thore Da steht ein Lindenbaum; Ich träumt' in seinem Schatten So manchen süssen Traum. Ich schnitt in seine Rinde So manches liebe Wort; Es zog in Freud' und Leide Zu ihm mich immer fort. Ich musst' auch heute wandern Vorbei in tiefer Nacht, Da hab' ich noch im Dunkel Die Augen zugemacht. Und seine Zweige rauschten, Als riefen sie mir zu: Komm her zu mir, Geselle, Hier find'st du deine Ruh! Die kalten Winde blieben Mir grad' in's Angesicht, Der Hut flog mir von Kopfe, Ich wendete mich nicht. At the well by the gate stands a linden tree. I dreamt in its shade many a sweet dream. I carved into its bark many a word of love. In joy and sorrow I was always drawn to it. Again today I had to walk by it in the deep of night, even in the dark I closed my eyes. And its boughs rustled as if calling to me: "Come to me, companion, here you'll find your rest." The cold winds blew straight into my face. My hat flew off my head, I did not turn around. Nun bin ich manche Stunde Entfernt von jenem Ort, Und immer hör' ich's. rauschen: Du fändest Ruhe dort! Now I am some hours away from that place, and always I hear it rustle: "You would find your rest there." —Wilhelm Müller 112 FRANZ SCHUBERT Der Lindenbaum The song cycle Winterreise (Winter's Journey, 1827) consists of twenty-four poems by Wilhelm Miiller that express the nostalgia of a lover revisiting in winter the haunts of a failed summer romance. In Der Lindenbaum (The Linden Tree), the poet dwells on the memory of the tree under which he used to lie dreaming of his love. Now, as he passes it, the icy wind rustles the branches, which seem to call him back to find rest there once again. Schubert borrowed the motive in the piano that accompanies the words "The cold winds blew" to set the stage with a seven-measure introduction, turning the music from the chilly minor to a sunnier major to evoke the happier mood of the summer. This music serves also for interludes and an epilogue. The song itself is in a modified strophic form, each strophe of music setting two stanzas of the poem. The first two stanzas are set to a simple, folklike melody made up of four-measure phrases in the form aabb' and accompanied by simple chords. The next two stanzas repeat this melody but with a broken-chord accompaniment. The fifth stanza departs from the pattern to portray the blustery winter scene. The last stanza is sung twice to the music of the opening stanzas. Thus the overall form of the song is AA' BA". 109 Fryderyk Chopin (1810-1849) Nocturne in E-flat Major, Op. 9, No. 2 "Oir*. ^* «Ea * ekr* #<^. *^*to. * to.*«^ a tempo ff ff ff ff ^oco ritard. i^s h,4 T-rTiT ■w i ■' < poco rail.. --' ■ r ♦ • 1 r 1 t> ^"' ii l_j 4*3 j--^---- Hü Reprinted from Nocturnes, rev. by Hermann Scholtz (Frankfurt: Peters, n.d., pi. no. 9026), pp. 8-10. 354 109 FRYDERYK CHOPIN Nocturne in E-flat Major, Op. 9, No. 2 355 14 crescT 0 a tempo if mm * I________i>fk tf 23 5 .5 i_J 109 FRYDERYK CHOPIN Nocturne in E-flat Major, Op. 9, No. 2 8- 8 32 \£. kl p. 71—^> 1 — 4 i i i 5-» * ——. I - i säa« lui £i 3T\ a tempo EjJ £rJ E-cJ EjJ --.- P f. JJ w "7Tr>~ Complete String Quartets (New York: Dover, 1975), pp. 119-26. 276 104 LUDWIG VAN BEETHOVEN String Quartet in C-sharp Minor 279 3380