Wolpe - From Here On Farther by Peermusic Classical

STEFAN WOLPE FROM HERE ON FARTHER for Violin, 8-flat Clarinet, Bass Clarinet, and Piano Performance Set

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

NEW YORK HAMBURG

PREFACE

In From Here on FartherWolpe moves onward by coming full circle to his roots in "Young Classicism" [Junge Klassizismus], the aesthetic which Busoni described as the couching of new technical developments in strong and beautiful forms. Busoni had a profound impact on Wolpe's early development, and Wolpe some fifty years later appears to be revisiting and encompassing that aesthetic. Wolpe at first titled the work "Concerto," which he must have intended in the sense of a Baroque ritornello form. From Here on Farther is in a single movement with three clearly articulated sections, each of which begins with the same material in the same tempo. Wolpe abandoned the idea of reprise in his instrumental music of the fifties, so we must ask what its reappearance might mean in the music of his last years. In the context of the late music, where Wolpe's continuities are usually based on the juxtaposition of maximally contrasted aspects of the material, reprise appears to signify the limiting case of minimal change. The piece opens with a graceful, shapely figure that becomes the subject of warm and witty discourse. The illusion of a classical surface is sustained by limiting the instruments to traditional techniques. For instance, the violin has trills, pizzicati, tremolandi, and double stops, but no glissandi. But the inner life of the music subverts the classical framework with a rich mosaic of intensely drawn and sharply contrasted images. At measure 62 in the first section the tempo slows for an episode in which the piano has massive, static cluster chords while the bass clarinet repeats a questioning, rising line and the clarinet has flickering sotto voce tremolos. It is an ominous interruption of halting rigidity after the preceding liveliness.

The clarinet, accompanied by the violin, breaks in with a Till Eulenspiegel-like insouciance, but fades again as the cluster chords crash back in. The ritornello begins the second section (m. 76), and soon after the violin in a high register plays a symmetrical phrase of a simple diatonic tune (m. 83), a striking incursion into the otherwise rarefied and asymmetrical shapes. A ritard with cluster chords in the piano and falling lines in the other instruments brings the second section to a halting close. In the third section (m. 107) the ritornello gradually dematerializes and gestures become static and stuck. A faster tempo intervenes briefly with flourishes in the violin and clarinet, and urgent chords. In the final images the violin brings back the ritornello a tempo but inverted, while the clarinet plays a wistful tonal cadence and the bass clarinet recalls the initial falling ninth as a rising interval (m. 119). After two measures of silence the movement ends abruptly and vehemently with two astringent chords. The music of From Here On Farther is at times warm and magnanimous, at times anxious and troubled. The symmetrical form harbors disturbing discontinuities that relate it to Form IV: Broken Sequences, the piano piece composed in the same year. Both explore the experience of setting up continuities that are rudely and spasmodically interrupted, as though Wolpe were conveying in music his experience of the struggle with the parkinsonism that had afflicted him over the previous six years. The expressionistic exuberance of the ensemble pieces of the fifties is here contained by the unassuming mastery, the love of serious play, and the practical wisdom that transcend personal affliction with strength and compassion.

THE SOURCES

A Holograph score in pencil on Passantino paper, 18 staves. Title page: "From Here on Farther/ Concerto for Violin, clarinet, bass clarinet, piano/ Stefan Wolpe in his 66th year./ Mar[ch] 25 1969" "Concerto for" replaced by "Piece for". A1a

Black line print copy of m. 1 - m. 64 of A with the composer's corrections and emendations in black and blue pencil; 11 pp. Title: "From Here On Farther".

A1b

Negative photostat of Am. 65 to the end with composer's emendations in ink; 14 pp.

Ink on vellum masters; fair copy made by Don Stewart; 23 pp.

B1 Black line print of B bound in brown covers with the composer's corrections and emendations in black and blue pencil. Title page: "CONCERTO" crossed out and replaced with "From Here on Farther" in pencil. Some of the composer's changes made in this score are not incorporated in B1 b. The principal source. B1a Photocopy of B1. Composer's additions in black pencil include lining up cues and tempo indications: "tempo 120" at m. 76 and "meno mosso" at mm. 63 and 71. B1 b Photocopy of the ring-bound xerox copy of B1 belonging to Wolpe's student, the composer and conductor Herbert Sucoff. Sucoff's performance indications and queries are answered by Wolpe's corrections and emendations in B1. B2

Photocopy of B with the composer's corrections entered.

NOTES m. 14 pno r.h., beat 1 m. 18, cl, note 1 m. 19, pno r.h., note 1 m. 25, cl, note 1 m. 35, vn, note 1 m. 43, pno r.h., note 5

m. 76 m.103 m.107 m. 127, pno r.h., beat 3-4 m. 128, above vn, note 1

All sources give E-natural. A1 has ff; in B1 composer adds fin blue pencil. A rising stem added to the D#2 and an eighth rest added editorially to differentiate the two voice parts. A1 gives p. The composer amended this to fin B1. In A1 Wolpe added the letter "D" in blue pencil to confirm the pitch of the first eighth note. The note was misread as C3 in B1. B1 gives the F#2 of A1 as E#2. The composer deleted the sharp leaving the E natural. In B1a after the tempo indication over the pno r.h. the composer wrote in pencil "meno mosso". In B1a after the tempo indication over the violin part the composer wrote in pencil "meno mosso". In A1b and B1a after the Tempo 1 indication over the violin the composer wrote in pencil "120". In A1b above the pno. r.h., note 2 the composer wrote "rit. - - J = 92". B1 has "tempo J = 120". In B1 Wolpe added a triplet sign in blue pencil but not the slur. The slur and triplet sign are both in A1b. In A1b the composer has written over the original tempo "132" to change it to "138". B1 gives the tempo as "138".

The editorial work on this edition was supported by a grant from the Social Sciences and Humanities Research Council of Canada. Austin Clarkson Toronto, January 1993

From Here on Farther has been recorded by Continuum on Nonesuch 78024, and by ensemble avance on Col Legno 429357-2 CD.

From Here On Farther for Violin, Bb Clarinet, Bass Clarinet and Piano

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