Wolpe - Trio in Two Parts (sample pages) by Peermusic Classical

STEFAN WOLPE TRIO In Two Parts for flute, cello 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

Stefan Wolpe began composing Trio in Two Parts for Flute, Cello and Piano in 1963 while on a Guggenheim Fellowship. He completed the first part in October while in Rome and the second part in February of the following year after returning to New York. The Trio was written at the invitation of Harvey Sollberger and Charles Wuorinen, Codirectors of the Group for Contemporary Music at Columbia University, and was premiered on November 16, 1964 in McMillin Theater at Columbia University, with Sollberger playing flute, Wuorinen, piano, and Joel Krosnick, cello. The Trio marks a new stage in Wolpe's late style in which he reduces the density of the music in order to clarify its inner processes and make it more transparent. While composing the first movement, Wolpe wrote: I am working on the Trio for Wuorinen and write an amazing (that is I am amazed) piece of simple events in a less simple, syntactical environment. Long bygone time elements like J. 'I fJn , or J J J, or J1 J1 I J1 1Il, etc. I have a horror of exaggerations and long-drawn-out grandeur (at this moment). I wonder about the un-weight of leaves, and letters, and facial expressions. [To Austin and Beverly Clarkson, 17 June 1963).

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I am writing less notes. The time is coordinated on the basis that to each configuration belongs a number of time progressions (variable or extendable), as to the pitch configuration itself belongs characteristic morphological structures (conditions, behavior forms, castlike proportions, reduced dynamics, etc.). [To Austin and Beverly Clarkson, 25 June 1963).

Wolpe wrote several comments in the pencil manuscript, some pertaining to events in his life and some directly to the music. In September 1963 Wolpe consulted a physician in Rome about difficulties he was experiencing with physical movement. Over the piano part in mm. 199-200 he wrote: "The doctor tells me I have a mild case of Parkinson." Then, over the piano chord on the last eighth note of m. 311, he wrote "Grief ... " However poignant these comments may be, there is no evidence of a programmatic effect here or elsewhere in the music. Wolpe's characteristic physical robustness deteriorated noticeably only after the Trio was com~leted. After a lengthy struggle with Parkinsonism, Wolpe died in 1972 of complications caused by the disease, but no mental or creative decline was ever evident. Over the piano part in m. 151 of the first movement Wolpe wrote "Oh Jurgen v.d. Wense," referring to the composer Hans-Jurgen van der

Wense (1894-1964), one of Wolpe's closest friends in the early 1920s. Von der Wense was perhaps the most eccentric of the young radicals who gathered after the war around Hermann Scherchen and the Neuer Musikgesellschaft. The events in the succeeding measures of the Trio may have reminded Wolpe of his friend or may allude to his music. See especially the reiterated piano figure in mm. 154-155 [cf. van der Wense's Musik fur Klavier, Op. 1 (1916)]. Other comments in the manuscript have a purely musical significance. In m. 96 of the first movement the words "like an echo" and the slur indicate that the cellist should use a barely discernible attack to make the tratto col legno note a continuation of the pizzicato note. In m. 111 of the first movement the comment "traces of Debussy" written beneath the cello part evidently applies to the pitches Gb- D - Db - F. This is a version of one of the basic four-note pitch-class sets of the work [0145], which can be arranged as a pair of parallel major thirds (F#- D, F-Db). Wolpe may have been reminded here either of a sonority typical of Debussy, or perhaps of mm. 8-11 of "Des pas sur la neige" from Preludes, Book I, a piece he liked to use in his classes on analysis. In m. 112 the flute plays a similar figure (Bb- D, Eb- B), which is reminiscent of mm. 21-22 of the Prelude . The comment is an example of Wolpe's concern with "levels of language." As he varied the fundamental constructs of his music, some shapes would seem more commonplace, while others would be more individual, and one of the more familiar variants might remind him, however distantly, of some other music. These "allusions" occur as part of the process of constant change and should not be regarded as references or quotations. Wolpe left few sketches of his works. However, the pencil manuscript of the Trio contains some clues to his compositional methods. A series of measure numbers refer back to previous measures. Some identify particular shapes that reappear only slightly changed. For instance, the figure below the number 7 in the flute part of m. 68 reiterates the flute figure in m. 7. In other cases the transformation is so extensive that a connection is hard to discern. The numbers are given in the following table with the place where they fall in the score and remarks on the nature of the connection. (The numbers have been adjusted to accord with the corrected measure numbers.)

Location (bar, beat)

Number

Position in score

Remarks

First Movement 23,2 52,3 67,3 68,4 70,2 73,4

17 36 54 7 17 59

flute cello piano, r.h. flute piano, r.h. flute, cello

77,1 79,4 80,1 119,4

71 71 77 49

flute, cello piano cello piano

126,3 145,4

119 59

piano, r.h. piano, r.h.

180,4-181 205,3 214,4-215 225,2-226 246,4-247 257,2 274,1

59,74,85 1 210 7 222 216 17

piano, piano, piano, flute piano, flute cello

290,3-292

58,180

flute

r.h. r.h. r.h. l.h.

cello figure flute figure wide symmetrical intervals, pc set [0126] 16th-note figure cello figure asymmetrical intervals, pc set [0126] pc set [0145] in flute wide symmetrical intervals, pc set [0126] wide symmetrical intervals piano figure, pc set [01245] flute figure transposed piano figure pc set [0126] fl, vc, and pf develop the fl figure of m. 17 wide symmetrical intervals, pc set [0126

Second Movement 43 73

flute flute

6 60

flute figure, pc set [0126] flute figure, pc set [0126]

The flute figures at mm. 43 and 73 apparently refer back to m. 60 of the 1st mvt. However, note also the connection to the flute figure in m. 59 of the 2nd mvt.

THE SOURCES

AHolograph score in pencil, 68 pages. Title page: Trio in 2 parts/ for Flute, Cello and Piano/ Stefan Wolpe/1963-64. Date at the end of first movement: Rome/ October 1963. Date at end of the second movement: February 1964.The original pencil manuscript was lost, probably in the fire that occurred in the composer's apartment in 1970. Of the three photocopies of the score, two show fire damage around the edges, but not to any of the notes. One of the two singed copies seems to have been used by Wolpe in rehearsals, since it has occasional notes in his handwriting. The third copy was cut up and re-pasted to provide the flute part used by Harvey Sollberger in the premiere performance.

In numbering the measures of the first movement Wolpe counted m. 122 as two measures. Later he misread m. 305 as 303, using 304 and 305 again before proceeding.

BFair copy of the score prepared by the copyist Don Stewart, 63 pages.

NOTES ON PERFORMANCE

Repetition

Tempo

The words "Repetition considered" are written at the double bar with repeat marks in m. 58 of the first movement. If the players think that a repetition of the first section would add a dimension to the material, they should take the repeat.

Contrasts of tempi differentiate various types of material and thus are a significant aspect of the musical form. The "Tempo" indication at m. 67 of the second movement is ambiguous. It could mean either a return to the tempo at m. 58 (q = 100), or to the tempo at the beginning of the movement (q = 80). Since m. 67 appears to be a new beginning, with chordal constructs quickly yielding to multi-linear texture, a return to the tempo of the beginning of the movement is advised. In m. 168 of the same movement a tempo change is marked only in the score used by Harvey Sollberger at the premiere performance. Since Wolpe attended the rehearsals for this performance, it is likely that the composer himself suggested the change. It is retained in the score.

Phrasing In Wolpe's music the figures grow and contract in continuous motion. He sought the ideal of chamber music, in which ideas seem to be exchanged and developed spontaneously by the performers. The groups of short, equal notes should be performed lightly, buoyantly, and, especially in the piano, not percussively. Except where specifically marked otherwise, the instruments should keep high and low pitches within the same dynamic range as the rest of the passage so that high notes do not jut out of the texture. The brief figures so characteristic of Wolpe's music should not be separated into rounded-off units, for this produces the sense of a series of closures rather than a graceful flow. The last notes of such figures should be lengthened slightly so as to link them to the following unit. The change in timbre provided by another instrument will then sound like the varied coloration of a more extended figure.

Vorschlag, Mitschlag, Nachschlag The Vorschlag (appoggiatura) is a grace note or chord to be played immediately before the beat. For a grace note or chord that falls on the beat, the composer coined the term Mitschlag. Nachschlag indicates a grace note or chord falling immediately after the beat. Edward Levy Yeshiva University New York, N.Y.

Notation

(The Preface was written in collaboration with Austin Clarkson, York University, Toronto.)

Wolpe's notation has been retained except for certain practical matters. The number of clef changes has been reduced, particularly in the cello part. In the piano part, the voice-leading follows the original with the exception of a few rests added for clarity. Wolpe beams notes to indicate significant groupings and the placement of stresses. His beaming has been retained throughout.

Trio in Two Parts was first recorded by the Trio of the Group for Contemporary Music at Columbia University on Composers Recordings, Inc., No. CRI 233 USO. Harvey Sollberger, flute; Joel Krosnick, cello; Charles Wuorinen, piano.

TRIO IN TWO PARTS Stefan Wolpe 1963-64

Edited by Edward Levy

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