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 Obo
(Fag-otto)
Kritische Ausgabe sämtlicher Symphonien, ed. H. C. Robbins Landon, Philharmonia No, 593, Universal Edition, 1963, Copyright 1951 by Haydn Society, Inc., Bo.ston. International copyright secured.
94
94    FRANZ JOSEPH HAYDN  Symphony No. 56 in C Major
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Alban Berg (1885-1935)
Wozzeck, Op. 7
CD 11
Act III, Scene 3
I37
53
Vorhang rasch auf     3. Szene  Eilie Schdlke (>liirtit,»otri.'ach<!sLiiht) Curtain rises quickly 3rd Scene A low tavern (badly insight)
Sohlicllpolka von einem ßursrhfn ungemein roh und stmpreff gespielt FdSt Polkd played oery coarsely and nemprvff by one of the young men
(J. 160)
125
Ein verstimmtes
Pianino
auf der Bühne
Dirnen u. Margret Girls ami Margret
Burschen Apprentices
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ta Heated at one of tne table«
tanzen eine wilde „SchneUpolka" / are dancing a wild and rapid Polka
Tanzt      Al-le; Dance,     all you,
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und and
135
hull   Euch   duch some   day   sonn
© Copyright 1931 by Universal Edition, A.G., Vienna. Copyright renewed. All rights reserved. Used by permission of European American Music Distributors Corp. Sole U.S. Agent for Universal Edition, Vienna.
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137    ALBAN BERG   Wozzeck
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137    ALBAN BERG   Wozzeck
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149                             150
Well*.
kehr-ten    sie    ein. taste of   her wine.
Mein   Wein.    1st  gut, My    u/tue.    is good,
mein     Bier_     Ist   klar, my     ale—     «   clear,
Mein    Töch  -my    daugh
ter . lein ter   dear
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137    ALB AN  BERG   Wozzeck
subito meno allegro (J = 6o
gestapft K"
a tempo (J.J >i6o)
Margret
mit Wo/zerli tnnzeíi'l dancing with Wozzeck
si.li unter.
brechend interrupt*
hints''!/
tanzt mit  Margret  e|n Paar Sprünge Uances a few steps with her
liegt   auf   diT...    Ver-dammt! Hex     on   her...     Be damned!
Komm,     Mur-Kr<?t! Come,     Mnr-gre.t!
subito meno allegro (<J = 6o)
a tempo (J. J, 160) 155
137    ALBAN BERG   Wozzeck
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rit. _     . Wieder meno allegro
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poco rit. 160
nimmt 4. Üb.
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Wieder meno allegro
führt nie un tteinen Tlttch und zieht sie auf Rtfinen Schon nieder -l      Irwin her to hin tablf, and putts her on his lap
(fret! Krét!
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gmchlagen mit dem Schwamm schlö^el und klingen lassen  .
auf Wozzecks Schufi Ort Wozztcka lap
I abdämpfen
Mar .    Rret,    Du            bist    so       helfl...
JrVzr   -    gret,   you're        hot    as       fire.
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137    ALB AN  BERG   Wozzeck
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Di» Margret begleitend
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137    ALBAN BERG   Wozzeck
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rail.
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Und lan - g»     Klel   .    der    trag ich nit, And trail-ing   drew  .    es      /'tl not wear,
hurt dem  Lied  Margrets zu listens tu Margret's Song
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137    ALBAN BERG   Wozzeck
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137    ALBAN BERG   Wozzeck
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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 Büchner (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
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NACHT
NIGHT
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
DECAPITATION
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
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 lunaireľ 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 du printemps Danse des adolescentes
134
CD 11
41     <34
Tempo giuato J«w>
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© Copyright 1912, 1921 by Hawkes & Son (London) Ltd. Copyright Renewed. Reprinted by permission of Boosey & Hawkes, Inc.
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134    IGOR STRAVINSKY  Le Sacre du printemps
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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 adokscentes (Dance of the Adolescent Girls). The lower strings, divisi, play an E-major triad (spelled Fl-A\>-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-B\>-C-D\>-E\>—a scale that alternates semitones and whole tones. This scale does not account, however, for the A\> or ď 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—B\>-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.