Wolpe - Chamber Piece No. 1

STEFAN WOLPE CHAMBER PIECE NO. l for fourteen players This edition has been prepared with the cooperation and approval of the Stefan Wolpe Society, Inc., which supports the performance and the preparation of editions of the works of Stefan Wolpe.

SOUTHERN MUSIC PUBLISHING CO. INC. PEER MUSIKVERLAG GMBH HAMBURG

NEW YORK

Stefan Wolpe composed Chamber Piece No.1 on a commission from the Koussevitzky Music Foundation and completed the work in December 1964. It was first performed at the Library of Congress on 5 February 1965 by the Contemporary Chamber Ensemble conducted by Arthur Weisberg, and given its New York premiere by the same group on 24 November of the same year. Chamber Piece No. 1 is the first of two compositions for chamber orchestra written during Wolpe's last years. Together they bring to a culmination the style he had been evolving since 1959. The brief note Wolpe wrote for Chamber Piece No. 1 reads: The work belongs to a recent group of works of mine concerned with economy in the invention of musical structures and the excercise of restraint even at moments of great activity. The apparent simplicity of the music is only on the levels of language that, along with the mobility of the ensemble and constantly varying texture, make up the materials of this one-movement work. Wolpe's desire to assimilate diverse musical idioms in one and the same piece accounts, for example, for the jazzy riffs in measures 10-16 and

the references to Anton Webern (m. 90) and Bela Bart6k {m. 106 ff.). The allusion to the Suite for Piano, Op. 14 by Bart6k { one of the heroes of Wolpe's youth) is specific if not literal. The. sixteenth-note figures in mm. 106-109 do not quote the Suite verbatim, but may refer to some sixteenth.. • .. 1 r• .. • nore passages m me nrsr movemenr. The reference to Webern is at first glance more obscure. Over the words "Oh Webern" written in the score there sounds briefly a delicate, pianissimo sb minor triad, an unusuai sonority for this atonal music. On closer examination, however, the connection with Webern runs deep, for the ,basic pitch set of Chamber Piece No. 1 is identical in structure to the tone-row Webern invented for his Concerto for Nine Solo Instruments, Op. 24. The six-note set which plays a central role throughout the Wolpe work is the all-combinatorial source set G-AP-8-C-DI-E. Its complement is the hexachord F-GP-A-Bl,-c1 -D. The two hexachords alternate in a particularly clear manner in the ensuing section {mm. 90-132), and taken together comprise a twelve-tone row that is identical to the inversion of the prime form of th'-? Webern tone row. Although Wolpe uses the material more freely than does Webern, he at times seems to allude to the Webern work {see, for example, mm. 29-33).

Wolpe went to Vienna in the fall of 1933 to study with Webern, who had resumed work on his Concerto in September at just about the time Wolpe began lessons with him. Wolpe must have known of the existence of the Concerto then, because while studying with Webern he began a Concerto for Nine instruments of his own with an instrumentation almost identical to that of Webern's. When Wolpe came to write Chamber Piece No. 1, he may well have thought of this new work {his first for a large ensemble since the then unperformed Symphony of 1956) as a tribute to the memory of his beloved teacher.

The Sources AHolograph score, in pencil, 82 pages. Title page: For the Serge Koussevitzky Music Foundation in the Library of Congress/dedicated to the Memory of Serge and Natalie Koussevitzky/Chamber Piece No. 1 for 14 players/Stefan Wolpe/1964. Date at the final double bar: December 1964. An inscription -in another hand at the bottom of page 1 indicates that the composer donated the score to the Library of Congress on 21 April 1965. There are two errors in the numbering of measures. The composer numbered m. 173 as

177, thus omitting four numbers. It is possible that a page is missing since on the average the score contains four measures per page. But the connection between m. 172 and the present m. 173 is such that it is highly unlikely that four additional measures intervened. The measure after 257 is numbered 158. This numbering, which reduces the proper number by 100, is continued tom. 199. The last three measures lack numbers altogether. Numbering errors of this order are unusual in Wolpe's scores, and in this case may be put down to difficulties he was experiencing from the onset of parkinsonism.

8Fair copy of the score on transparencies, prepared by the copyist Don Stewart, in ink, 81 pages. Bl: A black-line print of 8 used for performance. It contains corrections and additions. 82: a black-line print of 8 in which Mr. Stewart copied the emendations entered in 81. This score was in the composer's apartment and suffered water damage as a result of a fire in 1970. 83: A black-line print from the transparencies in which the emendations of 82 plus additional emendations are included. This print was used for performance.

CThe set of instrumental parts extracted from the score by Mr. Stewart. The piano part contains corrections¡ in the hand of the¡ comp~ser.

Tempo Markings

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A gives the tempo of a half note =92, but B reduces the value to 84. This pace is still fast and should be approached with caution. In A the tempo changes between measures 279 and 282 are given as follows: "Slower" (J = 72 ), "Still slower" (J =54 ), "A bit quicker Tempo I" (J=92). There is a contradiction in adding the term "Tempo I" at m. 282, where it is intended that the tempo should be "A bit quicker" than Tempo I. The contradiction is noted but not cleared up in 82, which retains the misleading indication "Tempo I" and reduces the metronome mark to 84 accordingly. Confusion is compounded in 83 where parentheses are placed around J =84 and the mark of J =92 is reinstated. The contradictory indications "A bit quicker" and "Tempo I" are retained. The Tempo I indication must be removed if the concluding section is to be "A bit quicker." The performance conducted by Arthur Weisberg, who prepa.red the premiere under the composer's

supervision and the subsequent recording, takes a faster tempo in the final section.

Dynamics The dynamic level of a given pitch or figure should be sustained throughout its value at the level indicated. When the dynamic level of a given pitch changes in the course of the pitch, the change should be sudden unless otherwise indicated.

Vorschlag, Mitschlag The term "Vorschlag" (appoggiatura) is used to describe a figure occurring immediately before a beat. For a figure that falls on the beat, the composer has coined the term "Mitschlag:' It is to be performed as an acciaccatura.

Cueing Li_nes Vertical dotted lines terminated by arrows draw attention to critical points of ensemble coordination. Diagonal or curved dotted lines indicate the continuation of a figure that passes from one instrument to another.

Stress Signs The signs - and / ictus respectively.

indicate anacrusis and

Austin Clarkson January1985

Instrumentation Flute Oboe English horn Bb Clarinet Bassoon Bb Trumpet f Horn Trombone Piano Violin 1 Violin 2 Viola Violoncello Double Bass Duration: about 8:30 The score is notated at concert pitch.

Chamber Piece No. 1 was first recorded by the Contemporary Chamber Ensemble, Arthur Weisberg, conductor, on Nonesuch H-71220 (1969). This edition was first published in 1985. Performance materials available on rental from the publisher

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