Les Noces (SVADEBKA) (Die Hochzeit) (The Wedding) Russian choreographic tableaux with words and music composed by
Igor Stravinsky German text by K. Gutheim & H. Kr端ger
English text by D Millar Craig
Full Score
Chester Music
Music setting by Stephen Gibson, New Notations, London Cover design by Chloe Alexander
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CONTENTS
Igor Stravinsky’s Les Noces, the Rite of Passage
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MARGARITA MAZO
Sources
xxii
MARGARITA MAZO
Dancing Les Noces
xxiv
STEPHANIE JORDAN
Editorial Policy and Filiation
xxvii
MARGARITA MAZO & MILLAN SACHANIA
Critical Commentary
xxxiii
MILLAN SACHANIA & MARGARITA MAZO
Notes on the Texts and Transliteration
liii
MARGARITA MAZO, DINA LENTSNER, MILLAN SACHANIA
Les Noces Acknowledgments MARGARITA MAZO & MILLAN SACHANIA
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IGOR STRAVINSKY’S LES NOCES, THE RITE OF PASSAGE MARGARITA MAZO
Stark, vital, austere, driving and relentless, Igor Stravinsky’s Svadebka, better known by its French title Les Noces, is based on a traditional rite of passage, the ritual of the Russian village wedding. Svadebka (a rarely used diminutive form of Svad’ba, Russian for wedding), evolved into Les Noces villageoises (The Village Wedding) and then, through abstraction, simply Les Noces (The Wedding), a landmark in the cultural landscape of post-Great War Paris and the last of Stravinsky’s so-called Russian compositions. Stravinsky began thinking about Les Noces in 1912, while still working on The Rite of Spring. He did not finish composing it until the autumn of 1917, and it took him another six years to arrive at the final instrumentation. No other work would take him so long to compose, and no other work would have as momentous a meaning for him. Unlike The Rite, revised several times, he never wanted to change a single note of Les Noces throughout his life.1 The Les Noces project was interrupted several times by the composer’s preoccupation with other pieces, by the war, by family upheavals, and by a few temporary fallings-out with Diaghilev. But these were not the only factors that delayed the project. There were some fundamental changes in Stravinsky’s life and compositional aesthetics during the Les Noces years. Stravinsky left Russia and first settled in Switzerland, where he spent the years of his greatest artistic triumph, as well as the worst times of his life, the turbulent wartime years; he then moved to Paris in 1920. There were also factors of a more philosophical nature that delayed the project in fundamental ways: Les Noces’s eleven years were the time when Stravinsky negotiated a radical shift in his artistic identity. No longer interested in being perceived only as a young Russian composer from St Petersburg temporarily settled in small Swiss towns, Stravinsky began moulding a new identity, that of a leading international composer living in Paris, the hub of the world’s artistic avant-garde. Stravinsky was recognised, of course, as the eminent composer of Petrushka, The Firebird and The Rite of Spring; yet he was denied a rank among the French ‘architects’ of the new art, even by his friend Jean Cocteau. Only after the première of Les Noces did Stravinsky become, to quote a Parisian composer and critic, ‘our national Igor’.2 The 1 2 3
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various transformations of Stravinsky’s aesthetic orientations and personal ambitions, traceable through different works written between The Rite of Spring and Octet, are encapsulated in the metamorphosis of this single composition from a flamboyant spectacle à la façon de Diaghilev at the time of its conception to the bare-boned and abstract composition we know. The composition is in two acts, four tableaux, each designed as a succession of disjointed sections. Its text is an amalgam of excerpts – sometimes even snippets – from wedding songs, sayings and the spoken rhymes of the Russian village, all put together by the composer. Most of the texts come from a folk-song collection by the renowned nineteenth-century folklorist Pyotr Kireyevsky.3 The music of Les Noces as a whole does not progress as a continuous development; neither can it be conceptualised in terms of any traditional genre. Stravinsky himself had a hard time identifying the genre: ‘Svadebka – Russian song (cantata, oratorio, or what?) with choreographic accompaniment.’4 Eventually, he settled on the designation divertissement. Stravinsky draws the connexion with the Russian village ritual even before the music begins. Already with its subtitle – ‘Russian Choreographic Scenes with Singing and Music’ – Stravinsky alludes to Russian village parlance, since for Russian villagers, peniye, singing, is not considered ‘music’. Only what is played on instruments is considered ‘music’. The text of the entire composition is actually constructed from bits of village songs and verbal expressions. We are instantly struck by the seemingly implausible correlation of Russian village idiom with the work’s instrumental ensemble of four pianos and percussion – an ensemble entirely inconceivable within the context of a Russian peasant wedding. Yet, in its own ineluctable way, this ‘perfectly homogeneous, perfectly impersonal, and perfectly mechanical’ instrumentation5 makes perfect sense. For Svadebka, as much as it is tied to the village ritual, does not recreate it. Faithful to his new rhetoric of non-representation and nondescription, Stravinsky said on numerous occasions that his work neither describes nor represents, but presents a village wedding.6 Les Noces indeed draws a portrait of the village wedding by capturing not only its actions and texts, but also
See ‘Editorial Policy and Filiation’ in the present edition for details of the small revisions Stravinsky made to the instrumentation after the première. Florent Schmitt, ‘Théâtre de la Gaîté-Lyrique’, La Revue de France, June 1923. Emphasis added. Pesni sobrannïya P. V. Kireyevskim. Novaya seriya. Izdanï Obshchestvom Liubiteley Rossiiskoy Slovesnosti pri Imperatorskom Moskovskom Universitete pod redaktsiey deystvitelnïkh chlenov Obchshestva akademika V. F. Millera i prof. M. N. Speranskago. Vol. 1, Ritual Songs (Moscow, 1911). In Kireyevsky’s book, Stravinsky did not overlook a section collected by Alexander Pushkin, the venerated Russian poet whom Stravinsky admired throughout his life and whose Domik v Kolomne became the basis for Mavra (1922). To tease Kireyevsky, Pushkin included one song of his own making among the folk texts he collected, and the opening of the fourth tableau in Les Noces may be based on Pushkin’s text. Letter to Nikolay Struve, 6 April 1919, in the Paul Sacher Foundation, Basle, Switzerland (hereafter PSF), La Copie de lettres, pp. 136–46. Stravinsky and Robert Craft, Expositions and Developments (Berkeley and Los Angeles, 1981), p. 118. See, for example, ibid., p. 115.
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Igor Stravinsky’s Les Noces, the Rite of Passage
its atmosphere and fundamental nature. In Russian villages, the wedding ritual is a rite of passage, of which an essential aspect is the inclusion of a symbolic funeral: young adults cannot enter a new stage of life without also undergoing the symbolic death of their former selves.7 Wedding laments stand for this ritualistic death. Emotionally, the wedding ritual is highly charged, but, as with any communal ritual, it is not meant either to represent or to express the actual feelings of the bride, the groom, or any other participant. Their behaviour and actions embody impersonal responses to the requirements of a ritualised situation. Thus one finds here a peculiar coalescence of high emotional intensity and, at the same time, personal detachment. The idea that an artistic composition did not have to ‘express’ feelings must have intrigued Stravinsky. Not only was it a powerful aspect of the Russian village ritual, it also corresponded to the aesthetics of Stravinsky’s new environment, populated by Parisian leaders in the vanguard of the new arts. No longer interested in charming and passionate tales and in picturesque beaux arts, the generation of Parisian artists who lived through the Great War expressed their need to build, to construct and to manufacture.8 They commended austerity and succinctness, and they strove for machine-like precision. At the time, the idea and the rhetoric of pure art detached from physical reality so as to reach beyond the tangible world were still markedly new, while the art of richness, romanticised sentiment and inflated personalised expression were no longer the primary goal of artistic creation. No wonder, then, that the very concept that in ancient folk ritual – just as in the modern arts – music was not called upon to express the individual feelings of its protagonists was potent for the composer: ‘The bride laments in the opening scene of Les Noces,’ Stravinsky said, ‘not necessarily because of real sorrow at her prospective loss of virginity, but because, ritualistically, she must weep.’9 The Parisian audiences of Les Noces’s première did not fail to recognise that this wedding bears ‘the lugubrious air of a burial’.10 Those who liked the work praised it for being dry, harsh and mechanical. They found its severe simplicity intensely mesmerising. The plain costumes and the colourless décor by Goncharova, as well as the impersonal and abstract choreography by Nijinska, served to enhance the work’s sternness: On the stage without décor, transformed into a vast, cinematographic screen, a simplified humanity bustles
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about, in black and white, as if it were born out of a projector. […] It is grievous, mechanical, machine-like, burlesque, and touching…like life!11 Les Noces is customarily interpreted as the culmination of Stravinsky’s ‘Russian’ compositions. But as much as it was a farewell to his Russian past, it was also a welcoming salute to his new environment: the whirlpool of new art and the international artists, film makers, musicians, writers, poets, producers and critics living in Paris.
Autograph sources The amount of autograph material for Les Noces spread throughout the world is astounding. No other work by Stravinsky generated as many sketches and other preparatory materials as this twenty-five-minute-long composition. The sketches, drafts (partial and complete) and fair copies of Les Noces add up to well over a thousand pages (almost all undated), not including several copies of corrected proofs and conducting scores with Stravinsky’s annotations.12 The sheer quantity of autograph materials bears witness to the challenges and struggles Stravinsky faced in composing the work. Its tangled course of creation cannot be fully apparent until all of these materials are examined in their entirety and pieced together with copious correspondence, memoirs, contemporary reviews and other writings. The sketches and drafts of Les Noces invite competing interpretations of the work’s compositional process. Viewed in toto and together with other documents, however, they provide invaluable insights not only into the interpretation of the work, but also into Stravinsky’s creative process. (See pp. xxii–xxiii for descriptions, locations and abbreviated names of all autograph sources on Les Noces known to me.) Stravinsky anticipated that ‘other scores and sketches may still be excavated among the manuscripts I gave to people in return for financial help during the war’.13 And so it has come to pass. I have recently come across two manuscripts, long in private hands, and not previously discussed in Stravinsky studies. Both turned out to be crucial sources for Les Noces, as these manuscripts frame the beginning and end of composing the music: uncovered in 2003, Prtc-PML is the first draft of Svadebka’s first tableau in particell, presumably of 1914–15; the other, VS-1, found in 2001, is the first draft of the entire Les Noces in
See Margarita Mazo, ‘Stravinsky’s Les Noces and Russian Village Wedding Ritual’, Journal of the American Musicological Society 43 (1990): 99–142. Cf. Blaise Cendrars,‘Pourquoi “le cube” s’effrite?’ (15 May 1919), in Aujourd’hui: 1917–1929, suivi de ‘Essais et réflexions: 1910–1916’ (Paris, 1987), p. 63; The New Art of Color: The Writings of Robert and Sonia Delaunay, ed. Arthur A. Cohen (New York, [1978]), pp. 68–69. Stravinsky and Craft, Expositions and Developments, p. 116. Henry Malherbe in ‘Chronique musicale’, Le Temps, 19 June 1923. Emile Vuillermoz, ‘Premières. Ballets russes: “Noces” d’Igor Strawinsky’, L’Excelsior, 18 June 1923. Most of the autographs are now housed at the PSF, the permanent home of the Stravinsky Archive since 1983, but many others are dispersed in various public and private archives. See list of sources on pp. xxii–xxiii. Stravinsky and Craft, Retrospectives and Conclusions (New York, 1969), p. 118.
Igor Stravinsky’s Les Noces, the Rite of Passage
piano-vocal score,14 drafted after Prtc-W, probably between 1917 and 1919. Coupled with my earlier discovery of the work’s original version, previously unknown,15 it became possible to trace how its conceptual formation evolved from a linear description to a non-linear abstraction.
A brief biography of Svadebka / Les Noces16 The first mention of the work comes from Stravinsky’s correspondence with Alexander Sanin, a famous Russian stage director and the régisseur of all opera productions presented by Sergey Diaghilev’s Ballets Russes from 1908 to 1914. In early 1913, Sanin had been approved as one of the founding artistic directors of the new Free Theatre in Moscow. In the hope of enlisting Stravinsky’s efforts in making the opening season of his Free Theatre a sensation of Russian avant-garde theatre, Sanin wrote to the composer on 17 February / 2 March 1913 (Julian calendar / Gregorian calendar), requesting ‘a three-act piece’ and encouraging the composer – clearly in the spirit of the ground-breaking development in Russian synthetic theatre, headed by several stage directors, most notably Vsevolod Meyerhold – to combine on stage all kinds of music theatre, ‘opera, and dance, and mimo-drama, all together’. He specifically inquired about the details of Svad’ba, the work Stravinsky mentioned to him in the summer of 1912 in Paris. Instead, Stravinsky, then engrossed in The Rite of Spring, offered the Free Theatre another work, Solovey (Le Rossignol, The Nightingale).17 While Sanin’s request for Svad’ba obviously came to naught, it is not implausible that Stravinsky was initially inspired by Sanin’s idea of a work in three acts, as well as by the remarkable concept of Svadebka as a synthetic spectacle. The latter, Stravinsky recalled, was his original vision of the work’s theatrical form:
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17 18 19 20 21
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I wanted all my instrumental apparatus to be visible side by side with the actors or dancers, making it, so to speak, a participant in the whole theatrical action. For this reason, I wished to place the orchestra on the stage itself, letting the actors move on the space remaining free. The fact that the artists in the scene would uniformly wear costumes of a Russian character while the musicians would be in evening dress not only did not embarrass me, but, on the contrary, was perfectly in keeping with my idea of a divertissement of the masquerade type.18 In July 1913 in Ustilug,19 Stravinsky met Stepan Mitusov, a poet, pianist and friend from Stravinsky’s gymnasium years in St Petersburg, to finish the libretto of Solovey, commissioned by the Moscow Free Theatre. Mitusov had sung Ne vesyolaya da kompan’itsa (Not a merry company), a village protyazhnaya (long-drawn-out) song, which he recalled from memory (Figure 1).20 The song, which had clearly made an impression on Mitusov, evidently had a similar effect on the composer. He noted it down, and it became the single folk melody quoted in its entirety in Les Noces ([110]+2 to [132]) (hereafter, the Mitusov melody). Stravinsky’s transcription in Figure 1 shows his struggle with text underlay and barring as he attempted to cope with the unusual prosody and complex interplay between stress and duration in sung words. Transcribing the Mitusov song became an early step on the path to what Stravinsky dubbed his ‘rejoicing discovery’ of shifting stress in folk song and flexible relationships between melody and text in Russian village song – the discovery that Richard Taruskin’s in-depth exploration has made so familiar.21 Its conscious realisation came in the autumn of 1914 as the composer worked on Pribaoutki and other songs on folk texts, but in the process of transcribing the Mitusov song, he had already embarked upon the experimentation with prosodic ‘distortions’ typical of Russian folk song.
The latter manuscript contained the final touches applied by the composer to Les Noces’s structure, most notably the extension of the concluding episodes of the third and fourth tableaux (lament of the mothers and the tolling bells respectively). The manuscript FS-1 containing version 1 is part of the Stravinsky Archive at PSF, but it has never been recognised as the original version of Les Noces. In the present essay, I use the term ‘version’ to designate a distinct conceptual stage of the work, in preference to ‘draft’, which refers to a specific continuous manuscript. My labelling of different versions and drafts is constructed as follows: ‘FS’ stands for a draft in full score; the number (1 to 5) identifies one of the Les Noces versions; the ensuing lower-case letter refers to a specific draft of that version (‘a’ being the first draft, ‘b’ the second,’ and so on). For example, ‘FS-3b’ refers to the second draft (‘b’) in full score of version 3. The absence of a lower-case letter indicates that only one full-score draft of a particular version is known. Bold numbers enclosed in brackets refer to rehearsal numbers in the published score. Numerous scholars have examined Les Noces and written its ‘biography’ as part of a general investigation into Stravinsky’s life and music. Robert Craft’s intimate record of the life of the composer and, indeed, his voice in conversation about Les Noces were pioneering (see specifically Stravinsky and Craft, Expositions and Developments, pp. 114–18, Stravinsky and Craft, Retrospectives and Conclusions, pp. 117–22, and Vera Stravinsky and Robert Craft, Stravinsky in Pictures and Documents (New York, 1978), pp. 144–62). The most comprehensive discussion is in Richard Taruskin’s epochal work, Stravinsky and the Russian Traditions: A Biography of the Works through ‘Mavra’ (Berkeley, 1996), pp. 1319–86. See also Stephen Walsh’s biography, Stravinsky: A Creative Spring. Russia and France 1882–1934 (New York, 1999), pp. 243–365. Alexander Sanin, letters to Stravinsky, PSF, Box 36; English translation in Stravinsky: Selected Correspondence, ed. Craft, 3 vols (New York, 1982–85), vol. 2, pp. 197–200. An Autobiography (New York, 1962 [first paperback edition]), p. 106. Ustilug is a small town in the Volhïn’ province in the Ukraine, where Stravinsky built his estate. The song is from Pesni Russkago naroda sobrannye v Arkhangel’skoy i Olonetskoy guberniyakh v 1886 godu, ed. Fyodor Istomin and Georgiy Dyutsh (St Petersburg, 1894), pp. 161–62. See Taruskin, Stravinsky and the Russian Traditions, pp. 1206–36 and 1269–71.
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Igor Stravinsky’s Les Noces, the Rite of Passage
One more melodic theme known to Stravinsky before he began composing and which he quoted in the work derives from the composer’s notation of the bells ringing at St Paul’s Cathedral in London in June 1914. Edwin Evans, a London music critic and Stravinsky’s friend, recalled: One Sunday afternoon Stravinsky and I took a taxi and, roaming through the deserted City of London, came upon St. Paul’s just as the bells were ringing. Stravinsky stopped the cab and listened intently to the ‘changes,’ taking occasional notes on a back of an envelope. He was most enthusiastic about the inexhaustible variety of the sequences in which he claimed to hear the most wonderful music. There is something about Les Noces, and particularly about its strange concluding pages, that makes me wonder whether, in all essentials, the substance of the music, or at least the percussive element which animates it, was not born in London on that Sunday afternoon.22 In addition to the link between the bells of St Paul’s and the end of Les Noces pointed out by Evans, there is another and more immediate connexion: one ‘tune’ of the St Paul’s bells actually appears in the first and third tableaux at [14]–[15], [18] and [73]. Stravinsky set it to similar texts about the festive beating of various folk percussion instruments, a rare (though not entirely unique) example of word painting, seemingly entirely out of character with this abstract score (Figure 2). A more general semantic field connected with the sound of bells must have played into Stravinsky’s reaction to the bells of St Paul’s. Bells were part of the habitual soundscape of his youth in St Petersburg; the bells’ rich, elusive and engulfing sound had become an aural icon in Russian culture. The phenomenon known as kolokol’nost’ (the sonority of ringing bells, from kolokol, the bell) has found diverse representations and meanings in Russian music, literature and visual arts. Since Glinka’s Epilogue ‘Slav’sya’ in A Life for the Tsar (1836), rarely has a Russian composer missed a suitable occasion to reference bells, each finding a sound representation according to the individual aesthetic criteria and programmatic ideas: Musorgsky, for example, chose to emulate kolokol’nost’ through rough orchestration and asymmetrical, untraditional chord dispositions; Rimsky-Korsakov, with his inclination towards abstract perfection of musical sound, preferred a balanced and polished representation; whereas for Rachmaninov, Stravinsky’s contemporary, a rich, sensual sound was most important. In contrast, Stravinsky’s tolling of bells at the end of Les Noces was percussive and dry. By June 1914 Stravinsky thus had two musical ideas, the Mitusov song and the bell ‘tunes’, which quickly resurfaced once he started composing the piece. Diaghilev meanwhile 22 23 24
dreamed of a ballet score that would be not ‘simply international’, but which would also have a distinctly Russian national colour.23 He hoped to capitalise on the uproar caused by The Rite of Spring a year before, and wanted Stravinsky’s new Russian ballet immediately. By the turn of the century, performances of episodes from village weddings had become very popular on the concert stage and in theatrical entertainments in Russia, and Diaghilev pushed for this composition, supposedly assuming that composing ‘a wedding’ would be an easy task. At the time when Stravinsky first began to think of Svadebka, the romantic ideal of representing folk songs and rituals truthfully to how they existed in villages – in a word, dostovernost’ – had became an important new trend in Russian intellectual life, put forward by ethnographers and folklorists rather than composers. In fact, during the decade 1900–10, folk religion, mythology and unmediated folklore had already become a crucial focus of Russian modernist culture. Earlier generations of composers had mainly borrowed elements that they deemed suitable for arrangements and quotations, but no one before had envisioned a representation of the folk ritual as a self-sustained composition. Even such enthusiastic proponents of national music as Glinka, Musorgsky, Borodin and Rimsky-Korsakov – notwithstanding their praise of folk song as a rich source of musical innovation – found it necessary to re-conceptualise folk material in terms of Western musical practice in order to elevate it to the status of art music. In short, dostovernost’ in staging a folk ritual was new even to the author of The Rite of Spring, with its invented plots and idealised rituals. As if in the manner of an ethnographer, Stravinsky began working on Svadebka by undertaking a study of the Russian wedding ritual. He learned of the village wedding, not through direct experience and observation, but rather from the scholarly, documented printed sources which he had gathered by July 1914: classic anthologies of Russian folklore by Sakharov, Afanasiev, Tereshchenko, and folk melodies by Rimsky-Korsakov, Prokunin and Tchaikovsky, Lyadov, Istomin and Lyapunov, Lineva, along with Dahl’s Dictionary of the Russian Language. His main source was the anthology of wedding songs and rituals by Kireyevsky. He also studied carefully the wedding section in the Istomin and Lyapunov anthology of folk melodies; he had already quoted a melody from it in Petrushka, and he returned to it as a source for Svadebka, as the early musical sketches show. Looking to design the broader scenario for the work, he attempted to convert the ethnographic materials into scenes and instructions for staging. The idea of preparing a condensed version of a village ritual for the stage was actually similar to what other Russian composers were considering at the time.24 Had Stravinsky not decided to
Music and the Dance (London, [1948]), pp. 89–90. An earlier version of this anecdote is in A. H. Fox-Strangways’s article in the London Observer of 4 July 1926. Sergey Prokofiev, Dnevnik, 1907–1933, 2 vols and a supplement (Paris, 2002), pp. 1 and 480. Anatoliy Lyadov’s unrealised ballet Leyla and Alaley for Diaghilev and especially Alexander Kastalsky’s Kartinï narodnïkh prazdnovaniy na Rusi (Scenes of folk festivals in old Russia, left unfinished) being two examples of works that strove to be dostovernïy.
Igor Stravinsky’s Les Noces, the Rite of Passage
compose Svadebka in a ‘scientifically’ documented way, that is, in the spirit of dostovernost’, he would have had no trouble completing the work without delay. Stravinsky’s desire to base it on ‘authentic’ and scholarly-approved data, however, caused him to confront materials that defied such a streamlined representation. The reason for this lies in the nature of the wedding ritual itself: as the ritual evolves, its episodes, songs, laments, formulaic orations and dialogues form recurring blocks; as they are repeated, they are re-arranged and shift both in time (at different moments of the ritual) and space (the episodes often occur simultaneously at different houses). The ritual is put together anew from these recurring blocks every time it is performed. The ritual is long; local versions are countless; and – despite the strictness of each tradition, immanent in any ritual – it has no single definitive ‘text’ even within the same village. Constant repetitions, spatial and temporal displacements, variations and rearranging of similar episodes, together with the simultaneity of actions taking place at the bride’s and at the groom’s, could not lend themselves to a linear construction of the ritual. It is possible that the redundancies in the folk material prompted the pivotal role of repetition in Les Noces; in any case, Stravinsky favoured repetition, even sought after it as a formal device that he had already put to good use in other works, The Rite of Spring being but one example. * * * At first, Stravinsky aimed at constructing an elaborate scenario, outlining the entire ritual. He did this by selecting episodes he deemed crucial for supporting the ritual’s progress.25 This scenario constituted a long composition in three acts, and the original version of the work was based on it. As if responding to the repetition and non-linearity inherent in the ritual, Stravinsky soon turned away from any attempt to design a streamlined narrative consisting of continuous episodes and songs in favour of a free montage of spliced-together episodes and texts. His ritual would be built from true ethnographic elements, to be sure, but Stravinsky would use them at will, freely repeating, cutting and combining them. He would construct each tableau by breaking longer episodes and full songs into shorter fragments, and inserting between them other episodes and texts – or, indeed, further fragments of these – in a seemingly incongruous way. As he later explained: Les Noces is a suite of typical wedding episodes told through quotations of typical talk. The latter, whether the bride’s, the groom’s, the parents’ or the guests’, is always 25 26 27
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ritualistic. As a collection of clichés and quotations of typical wedding sayings it might be compared to one of those scenes in [Joyce’s] Ulysses in which the reader seems to be overhearing scraps of conversation without the connecting thread of discourse.26 Eventually, he did not need to rely on a specific scenario or libretto in order to compose, but could simply go on with the most general framework of the folk ritual in mind. As for the conceptual framework of Svadebka’s ritual, many sketches point to the idea of two parallel plots – that is, the ritual preparations at the bride’s and at the groom’s – and their merging at the ultimate point of the ritual, the consummation. This more symbolic conceptualisation of Svadebka was one of startling completeness and simplicity. From the many rituals surrounding the preparations of the bride and groom, Stravinsky abstracted one parallel: the combing of the bride’s kosa (tress) and the groom’s kudri (curls). As the eventual rebirth of the bride and groom into a single entity is the purpose of the entire ritual, a third symbol was abstracted: krovat’ (bed), an episode in which the young couple are seen off to the bedchamber. The conceptual kernel of the work thus may be formulated metaphorically as KOSA – KUDRI – KROVAT’ or, generalised further, as: SHE
HE
BED This three-pronged abstraction was crystallised in an early sketch with three texts, visually arranged on the page as above: on the left, Chesu pochesu Nastas’inu kosu (I comb, I am combing Nastas’ya’s tress) for the Kosa episode (see [2] of the final score); on the right, Chem chesat’, chem maslit’ / Da Viktorovy kudri (With what shall we comb, with what shall we oil / Viktor’s curls)27 for the Kudri episode (see [29]); and underneath, like a sum total, Ay vï, druzhki, slepï (Hey, you best men are blind), set at [129]+3, when the groom’s svakha (matchmaker) and druzhka (best man) accompany the newlyweds to the bedchamber. Interpreting this sketch as the tripartite conceptual kernel of Les Noces reveals quite surprisingly just how little the essence of the composition actually changed over the years. The concrete forms underwent continuous and sometimes drastic changes, but this symbolic triangle gave continuity to the process. Infusing the kosa / kudri parallel with structural and metaphoric connotations of his own making, Stravinsky constructs it musically by using both similar and contrasting means. For example, both scenes of combing the kosa and combing the kudri juxtapose two distinct genres, lament and song. Stravinsky must have noticed them in the wedding section of the Istomin and Lyapunov collection. His laments
First published in Robert Craft and William Harkins, ‘Stravinsky’s Svadebka (Les Noces)’, The New York Review of Books, 14 December 1972, p. 29. Stravinsky and Craft, Expositions and Developments, p. 115. The groom’s name of Viktor, copied directly from Kireyevsky’s book, exposes the relatively early origins of the particular sketch: Stravinsky had not yet settled on the name of Svadebka’s groom, Khvetis.
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Igor Stravinsky’s Les Noces, the Rite of Passage
in the first three tableaux (the opening, [34] in the second tableau and [80] in the third) are sung by solo voices in a slower tempo; they are relatively unconstrained in terms of melodic range, flow and metre (as far as possible in this generally rigidly constructed piece); syllable durations vary and fluctuate; and, notably, the laments contain downward glissandi and numerous grace notes – Stravinsky’s invention as an aural representation of sobbing and wailing, which makes his laments sound indeed like village laments. Songs, on the other hand, are given to the chorus, in a faster tempo and with notably more restrained melodic gestures; together with their syllabic and predominantly equidurational setting, the songs sound like choral recitations rather than singable tunes; and they certainly never have glissandi or grace notes (for example, [2] and [10] in the first tableau or [27] in the second). When the opening theme of the bride’s lament recurs at the end of the composition, it conspicuously appears without any aural icons of crying. It is thus a song now, not a lament; in the village ritual, too, the lament belongs to the first part of the ritual, comprising episodes of separation and symbolic death, and cannot cross the ritual’s main watershed into the second part, which comprises celebrations of the new union, the rituals that protect the consummation of the marriage and assure the couple’s proper future. The recasting of the bride’s lament into the groom’s song thus symbolically affirms the ritualistic merging of the parallel plots and the transformation of the young bride into a married woman. By toying with the distinctions and similarities between lament and song, both learned from his sources and invented, Stravinsky deepens the kosa / kudri parallel and creates referential musical interconnexions between its two sides. Further reinforced by verbal and phonetic similarities, the kosa / kudri parallel strongly binds together the first three tableaux, bringing them into a unity like the facets of a single gem, framed by laments and punctuated by music and the changes on the stage. The idea of two parallel plots and their fusion at the end of the work never ceased to remain important to Stravinsky.28 Although his treatment of the three-part kernel is by no means the single feature responsible for the work’s unity, the result is a breathtaking coherence.
Versions 1 and 2 The composer himself admitted his uncertainty regarding the number and sequence of Svadebka’s preliminary versions, confessing, ‘I am no longer certain how many versions I may have begun, or how extensive each fragment may have been. […] Nor am I certain of the chronology.’29 Thus far, three preliminary versions have been known. All are unfinished 28
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and all begin just like the final score, with the work’s signature lament of the bride about her kosa (tress). A draft in full score of what has been usually considered the earliest version goes up to [4] (FS-2b hereafter). At first, it was planned for the second act of the three-act scenario. The original title, still seen on the first page, reads ‘Second Act, First Tableau’; it was later revised to ‘First Act, First Tableau’ (see Figure 3). The revision of the title indicates that, in the process of working on this draft, Stravinsky abandoned the first act of the three-act scenario and settled on the beginning of the piece in the way we know from the final score. Careful re-examination of all autographs, however, led me to discover an earlier and significantly different original version, pivotal to understanding Svadebka’s creative process and hitherto not mentioned in Stravinsky scholarship (FS-1 hereafter). Entitled ‘Second Act, First tableau’, FS-1 is clearly connected with the three-act scenario (see Figure 4). Moreover, it is based on a short libretto, entitled ‘U nevestï’ (At the bride’s), a descriptive passage Stravinsky copied almost verbatim from an ethnographic narrative in Kireyevsky’s book. According to this libretto, and unlike any other preliminary version, FS-1 begins not with the bride’s lament, but with the chorus Chesu, pochesu Nastas’inu kosu (I comb, I am combing Nastas’ya’s tress), the song which represents SHE on the sketch identified above as the conceptual kernel of the work, and which would become the second episode in all subsequent versions ([2]–[3] in the final score). Already in FS-1, the chorus music is remarkably close to that in the final score. It is important to note, however, the interpretative marking ‘in loud whisper’ (see the first bar in Figure 4) that magnifies the susurrant phonetic qualities of the text. Such an expressive indication would be out of character in the stripped-down score known to us, but it describes well the sound Stravinsky wanted, clarifying the sound colour behind the abstract mezza voce in the final score at [2]. The distinction between FS-1 and FS-2b – which seemingly resides in the deceptively simple insertion of the opening lament – actually bespeaks a significant shift in Stravinsky’s conceptualisation of the work as a whole. For the process that condensed the ritual’s repetitive episodes with the bride’s laments and the combing of the bride’s kosa into a single scene gave rise not only to the new opening of Svadebka, but also reframed the entire composition. The original idea from which the three-act scenario arose was no longer valid. With the next version, as exemplified in FS-2b (Figure 3), Stravinsky thus moved definitively away from the firmly ethnographic representation of the wedding ritual in FS-1 towards a more abstract and symbolic Svadebka. The instrumentation of both versions is the same, however. Both are scored for an ensemble with two string
As late as 1922, while making the final fair copy of the piano-vocal score, Stravinsky titled the first and second tableaux ‘Kosa’ and ‘Kudri’ respectively. They were changed to the original titles, which appear in several sketches as ‘U nevestï’ (At the bride’s) and ‘U zhenikha’ (At the groom’s), only at the time of the third (for the second tableau) and fourth (for the first tableau) proofs. Stravinsky and Craft, Retrospectives and Conclusions, p. 118.
Igor Stravinsky’s Les Noces, the Rite of Passage
quintets, the first always playing pizzicato, the second arco. Each quintet produces a distinct and unified sound colour, one percussive, the other smooth and continuous. Variations of this basic idea permeate all versions of Les Noces, including the final score, in which Pianos I and III play against Pianos II and IV, or sometimes even the left and right hands of the same piano play against each other in a way reminiscent of contrasting pizzicato / arco quintets. The other instruments included are two flutes (one performer doubling on piccolo), two oboes, one cor anglais and two clarinets (one doubling on piccolo clarinet in D); two French horns were added in the second version. The pairs of instruments (the two oboes, for example) play as though they constituted one collective instrument. Other instruments may have been planned, but these scores do not go beyond the opening episode; the percussion instruments notably had little significance in the first two versions. Stravinsky’s recollections about Svadebka’s earliest instrumentation repeatedly suggest that the original scoring was for a ‘super-Sacre orchestra’30 or even for ‘two string orchestras, one playing pizzicato, the other with the bow, … requiring around 150 musicians to perform’.31 The latter statement motivated a long-lived assumption that the two quintets of FS-2b designate a double string section in this giant orchestra. Meanwhile, not a single known draft of the first two versions fits the recollections Stravinsky expressed so assuredly. Not only is the number of instruments small in both scores but also the scoring itself is sparse throughout, giving no hint of a ‘super-Sacre orchestra’. It may have been another of Stravinsky’s infamous memory lapses or he may have indeed initially thought about the work as such, but for now it has to be considered as an early pre-compositional idea that went completely unrealised. Neither FS-1 nor FS-2b is dated, but it seems logical to suggest that Stravinsky had composed FS-1 by early October 1914, when he went to Florence to meet Diaghilev; the composer most likely had something of Svadebka ready to play for him. Diaghilev had already been pushing the composer to finish, as this was to be the only new piece of Stravinsky for the Ballets Russes. That Svadebka would have been at the forefront of their considerations at the meeting therefore seems plausible. Did they then discuss cutting out the first act, for which Stravinsky had no compositional ideas at all, and consider the possibility of a more manageable size of work in four tableaux? At any rate, FS-2b, with the new opening for the now reconfigured first act, was in all likelihood ready for the next meeting with Diaghilev in
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Rome on 8 February 1915, when Stravinsky played more of Svadebka. Diaghilev instantly fell in love with it.32 Stravinsky scholars consider that Diaghilev heard the completed first tableau and parts of the second. It is further contended that Stravinsky played the rest of the second tableau during his next meeting with Diaghilev in Milan on 1 April 1915; with two-thirds of the piece composed by midAugust, the entire work was nearly complete by the end of the year.33 Yet, however logical this chronology appears, it overlooks the work’s circuitous development, evidenced in the sketches and drafts. As indicated above, studying them has led me to believe that Stravinsky did not compose the work by advancing straightforwardly from beginning to end, but rather that he worked in a zigzag fashion. Sections composed with the original intention of being continuous would later be split by the insertion of other music; similarly, parts of the composition belonging to different tableaux could nevertheless be worked on simultaneously. Neither did Stravinsky compose Svadebka according to any single scenario; rather, he refined his plan as he worked, constantly re-thinking what he had already done. Only by moving back and forth between episodes and tableaux, and by making adjustments between segments previously composed and segments newly conceived, did Stravinsky bring his creative conception to its final realisation. Circumstantial evidence suggests that beyond working out the details of the opening episode in FS-2b, by the time of his meeting with Diaghilev on 8 February 1915 in Rome, Stravinsky might have composed the first tableau up to [16] (as in Prtc-PML) or even to [17] (as in two sketches in full score currently stored together with Prtc-PML), and he simultaneously considered some ideas for other episodes in the first, second and fourth tableaux.34
Version 3 The composition as a whole was put together for the first time on 29 September / 11 October 1917. This was version 3, initiated in the spring of 1915, the only completed version of the work that predates the final one (see Figure 5). In late January 1915, Stravinsky heard the Hungarian cimbalom virtuoso Aladár Rácz and his small string ensemble performing at a restaurant in Geneva. Enchanted by the sound of the cimbalom, Stravinsky arranged to purchase the instrument, which he received presumably between February
See, for example, ibid., p. 118. André Schaeffner, Strawinsky (Paris, 1931), p. 70. Diaghilev, letter to Stravinsky, 8 March 1915, PSF, Box 36; English translation in Stravinsky: Selected Correspondence, ed. Craft, vol. 2, p. 20. See all the accounts of the history of Les Noces, from C. Stanley Wise, ‘Impressions of Igor Stravinsky’, The Musical Quarterly 2 (1916): 249–56 (p. 256), and Vera Stravinsky and Craft, Stravinsky in Pictures and Documents, p. 151, to Taruskin, Stravinsky and the Russian Traditions, p. 1321. For example, there are sketches for [4], [16]–[17] and [8] in full score for the FS-2 ensemble, notably with timpani and later insertions of snippets for piano and, still later, cimbalom. In addition, several episodes from the first, second and fourth tableaux can be found among the sketches of various compositions completed between August 1914 and late January 1915.
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and mid-March of 1915.35 He learned to play the instrument, set himself to composing on it, and used it in the initial draft of Svadebka’s version 3 and every subsequent version except the last. Sergey Prokofiev, after witnessing the first presentation of the new version on 1 April in Milan, gave his report to Vladimir Derzhanovsky, the editor of the Russian journal Muzïka, who published the first detailed essay about Svadebka.36 The article supplies most invaluable information about how Stravinsky verbalised his ideas at the time, however embellished they became in this mixture of Prokofiev’s report and Derzhanovsky’s editorialising and guesswork. We learn from this article that Stravinsky already thought of Svadebka as ‘not an opera and not a ballet’, without a ‘plot in the crudely utilitarian sense’. The composition was in four tableaux, with the first two tableaux defined as in the final work, and with the final scene – the young couple being led to the bedchamber – defined exactly as in the composition we know. The only scene missing was the departure of the bride for church, the third tableau of the final score. The new instrumental ensemble, the result of the composer’s ‘new views on instrumentation’, consisted of about forty instruments, exclusively individualised, ‘an orchestra of soloists’. The chorus, Derzhanovsky said, was conceived as part of the instrumental roster; it had a ‘purely instrumental colouristic role, and it takes part from beginning of the score to end’. A composition in four tableaux for an idiosyncratic ensemble of about forty solo instruments as described in Derzhanovsky’s article is instantly identifiable as Svadebka’s version 3. That version includes twenty-seven wind instruments, fourteen of which are brass, all heavily involved, creating sonority at times resembling a wind band, particularly with tuba, keyed bugles and the B flat baritone on the instrumental roster. The two string quintets of versions 1 and 2 are reduced here to eight string instruments (three violins, two violas, two cellos and a double bass), but the string section, too, is enriched by the new percussive colour of harp, piano and harpsichord (probably used for the first time in a twentieth-century composition), and – above all – cimbalom. The idea of the strings playing pizzicato against arco is retained in version 3, but the instruments are no longer sharply divided into two groups: the scoring often calls for divisi, and at times a single instrument functions as two different soloists. The scoring of version 3 was spurred by Stravinsky’s clear intent to create a unique, pure musical colour for each soloist. He defined soloistic identity here not only by timbre, but also through the way an instrument contributed to the overall
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texture, voicing and sonority, even if sometimes it took several instruments to produce the unique character of a ‘soloist’. With such an approach, doubling of the ‘soloists’ could not – and in fact did not – exist: in practical terms, no two parts were exactly the same. In order to protect individual instrumental colours, the front page of the longest fair copy in full score of version 3, FS-3c, carries Stravinsky’s forceful warnings not to double and not to substitute any instrument. The idea of soloistic scoring was of course not new for Stravinsky; he had already experimented with it in Petrushka and the Japanese Lyrics, not to mention all the previous instrumentations of Pribaoutki and Svadebka itself. In version 3, however, the principle finds the fullest and utmost heterogeneous realisation, the lavish sound of which appears even more vibrant and astonishing because it is so diametrically opposed to the austerity and homogeneity of the final product. To keep the work and the spirit of the Ballets Russes active during the first wartime summer of 1915, Diaghilev rented a large villa, Bellerive, in Ouchy, Lausanne, on Lake Geneva, where he reassembled a core group of Russian artists, painters and dancers, who rehearsed regularly and discussed new projects. At Bellerive, Diaghilev invited Natalia Goncharova to design the costumes and the sets for Svadebka, while he began thinking of Leonid Massine, then a young dancer, as a possible replacement for Nijinsky as the choreographer. The Svadebka production team for the 1916 première was assembled, with Stravinsky living in Morges, a short bicycle ride along the lake. There in Ouchy, on a page with the letterhead ‘Bellerive / Ouchy-Lausanne’, Stravinsky jotted down the St Paul’s bells theme as a new musical idea for setting the song Vo gornitse vo svetlitse (In the room, in the bright-lit room), which would be used in the third tableau (see [70] ff). Another idea, most likely initiated at Bellerive, was the unaccompanied chant for two solo basses in the second tableau at [50], the only unaccompanied passage in the whole work. Diaghilev, obsessed with Liturgie, a new ballet after the Passion of Christ, wanted Stravinsky to write some a cappella choruses, based on ancient Orthodox znamennïy chant. Presumably with Liturgie in mind, Stravinsky copied down from Oktoikh (a Russian version of Byzantine Octoechos, The Book of Eight Echoi)37 one chant, Bogorodichen (a hymn to the Mother of God) in fifth glas (echos) and used it as the starting-point for composing [50]–[52], a chant-like episode in the second tableau of Les Noces villageoises, as the composition became known towards the end of 1915. The longest fair copy in full score of version 3, FS-3c, goes
Vera Stravinsky and Craft, Stravinsky in Pictures and Documents, p. 152. Renard was partially composed on the cimbalom. The cimbalom was also part of the eleven-instrument ensemble of Ragtime. In addition, Stravinsky arranged for Rácz the ‘Polka’ from Trois pièces faciles (ibid., p. 177). ‘The Latest Compositions by Igor Stravinsky’, Muzïka, no. 219 (18 April / 1 May 1915), pp. 262–63. Oktoikh contains znamennïy chants in eight glasï (echoi) necessary to support the eight-week cycle of the Orthodox service. Other sections of Les Noces also contain melodic gestures of znamennïy chant (see, for example, [21], [27], [28], [55] ff. and [74]), which are particularly prominent in the second tableau.
Igor Stravinsky’s Les Noces, the Rite of Passage
up to [17], presumably the end of the first tableau at the time (Figure 5). The composed parts of Les Noces villageoises were surely not limited to the first tableau up to [17], where FS-3c stops: the music for [21], parts of the lament for the episode of combing the groom’s curls ([35]–[38]+5), the incantation at [55]–[57], the chant at [50]–[52], and other patchy episodes for the second tableau, were sketched and some partially composed as well, though they cannot be dated precisely. Some blocks for the fourth tableau – the opening chorus Yagoda, the ‘hiccough’ duet at [91] and [127],38 and the Mitusov melody, along with some other bits and pieces – were also sketched by the end of 1915 / beginning of 1916. The non-linear process of composing Les Noces should be clear from this list and the previously stated considerations. Stravinsky worked on version 3 throughout 1915 and played the first tableau for a small gathering of friends at Misia Sert’s apartment in Paris at Christmas. It was the last time Diaghilev heard a note of Les Noces until April 1917. At the beginning of 1916, Diaghilev went to America with the Ballets Russes. Stravinsky, left behind in Switzerland, began to understand that staging Les Noces villageoises would have to be postponed until after the war. His relationship with Diaghilev started to cool. Like many others in Europe during the war, Stravinsky’s financial situation was dire: the activities of the Russian Music Publishers, Stravinsky’s main publisher, were disrupted; the income from his estate in Ustilug ceased (the estate was destroyed during the war); and he could not get a penny from performances in America, where the rights of Russian composers were not protected by international law. He thus became involved in other projects that were commissioned or which had a reasonable prospect of being paid and performed. Meanwhile, Les Noces villageoises was shelved. In composing Renard, for which he had secured a firm commission from the Princess Edmond de Polignac, Stravinsky immersed himself in the sounds of his cimbalom and the mocking folktales about the fox. Like Pribaoutki and other of his ‘Swiss’ songs on Russian folk texts, Renard is an offspring of Les Noces. The liberties taken with folk texts, the focus on de-personified folklore characters detached from the ‘real’ world, the fragmented musical form, comprising juxtapositions of unrelated blocks, characteristic melodic gestures, borrowed from folk song and re-invented anew, rhythmic procedures and harmonic idioms, the octatonic framework, a soloistic and chamber divertimentolike approach to instrumentation, even the handwriting – all point to a close relationship between Renard and Les Noces. The theatrical form envisioned by the composer for Renard was notably similar to his earlier idea of staging Les
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Noces (as well as Histoire du soldat in 1918), that is as a synthetic spectacle mixing musicians, dancers, clowns and acrobats on the stage. The idea had travelled all the way from Sanin’s initial letter about Svadebka, reinforced in 1914 by Alexander Benois’s ground-breaking productions of Le Rossignol and Rimsky-Korsakov’s Le Coq d’or for the Ballets Russes. Additional similarities between Renard and Les Noces are many, but I shall pause here to mention Stravinsky’s approach to text setting, because it may be helpful to performers of Les Noces, both vocalists and dancers. Putting into practice his ‘rejoicing discovery’, the composer turned his discovery into a certain technique of shifting verbal stress, depending on the musical durations of particular syllables. The syllables then acquired an additional value as independent sounds and durational units; they were no longer just elements of a verbal construction. Music in Les Noces was often said to be born of the phonetic sound.39 No wonder that the dancers of the Ballets Russes learned their timing not by counting endlessly changing musical metres but by memorising the syllabic durations of musical scansion: ‘We sang along, and that was how we remembered when to do things, by singing and dancing at the same time.’40 * * * With his new commission for a ballet based on Le Rossignol in November 1916, Diaghilev’s relationships with Stravinsky warmed, particularly after he secured the finances for the May 1917 season of the Ballets Russes in Paris, the first full season since the beginning of the war. Diaghilev’s new activities re-energised Stravinsky’s work on Les Noces villageoises, and he played it in Rome in April 1917, when Diaghilev summoned him to take part in the Ballets Russes’s tour. It was during this trip to Italy that Stravinsky became close to Picasso; they spent much time together in Rome and in Naples, developing a lasting friendship that was meaningful for both artists and, in some ways, specifically for the further transformation of Les Noces. A new era in the compositional history of the work began in July, when Stravinsky and Diaghilev signed a contract for several pieces; Diaghilev now had the exclusive worldwide rights for productions of Les Noces villageoises for two years. Stravinsky thus set himself to finish the piece, focusing on the last tableau, from [110] to the end in HMB-2, Les Noces’s second notebook. He possibly even drafted the entire fourth tableau in short score.41 Like so many others in Paris and London at the time, Stravinsky was under the spell of mechanisation and
In late January 1915, Stravinsky heard a curious duet of two drunken Vaudois men – one repeated a short phrase, the other hiccoughed at regular intervals – and jotted it down in alternating 4/4 and 3/4 metres (Schaeffner, Strawinsky, pp. 65–66). For an early account see Boris de Schloezer, ‘La Saison musicale’, La Nouvelle Revue française, 1 August 1923, p. 245. Alexandra Danilova, Choura (New York, 1986), p. 76. The separate pagination and the state of completeness of the fourth tableau in the Winterthur manuscript Prtc-W, discussed below, raise this possibility.
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mechanical instruments. He was working on Etude for pianola, and he was interested in the pianolisation of Les Noces villageoises. By early August, when he first had a concrete idea about the length of the entire work, and even before he had finished composing it, he was looking into how to fit the composition on pianola rolls.42 Stravinsky estimated the timing of the tableaux as 4, 8, 4, and 8 to 10 minutes respectively, demonstrating that even if his timing was only approximate, he thought a good deal about the temporal proportions of the parts to the whole (cf. the durations of each tableaux in version 5 on p. xviii). The landmark in the compositional history of Les Noces was the completion of version 3 in particell in a manuscript signed ‘29 IX / 11 X 1917, Morges’ and preserved at the Stadtbibliothek Winterthur (hereafter Prtc-W). The work was finally moulded here as a rigid musical construction, a patchwork forged together by an iron hand: larger episodes were spliced to construct a montage of short blocks, juxtaposed, overlapped, inter-cut and firmly welded together. The compositional principles, on which his works of the next decade would be based, Symphonies d’instruments à vent and Octet among others, were fully developed here, while the instrumentation, as we already know from the earlier drafts of version 3, was altogether different. The way that Prtc-W was compiled – it was not a through-written manuscript – evokes a parallel with the whole non-linear compositional process of Les Noces and its final structure: the manuscript is fragmentary and disjunctive; it consists of blocks of different materials, composed at various times between 1914 and 1917, here inter-cut, stopped and returned. The blocks are different even in their physical appearance: compiled from an assortment of single-page and continuous summary sketches, written on paper of different sizes and quality, with different pens and pencils, only roughly sketched and in cleanly copied segments, the manuscript was assembled with the single aim of putting together the entire piece. For that purpose Stravinsky gathered and reordered the previously composed sections, added those newly composed and made the connecting links, filling in whatever he felt necessary according to the proportions of the envisioned whole. By that time, the Swiss writer Charles-Ferdinand Ramuz had almost finished a ten-month job translating the work into French. Only some instrumentation and textural details were left to complete. Stravinsky considered the composition finished. ‘1917, Morges’ appeared as the date of the completion of Les Noces in later drafts, and even in the first edition of the piano-vocal score of 1922. Les Noces villageoises was thus finally put together just four weeks before the Bolshevik coup in Russia. This peculiar coincidence appears to have been largely due to the 42
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revival of artistic life in Paris towards the end of the war (and, accordingly, of Diaghilev’s production plans), rather than Stravinsky’s response to the loss of old Russia to the Bolsheviks. Although the historical scope of the event could not leave any Russian expatriate cold, the composer had other immediate losses to deal with. For Stravinsky the loss of Russia on a personal level had occurred long ago, even before the Great War.
Version 4 The immense shifts in how the composer constructed, negotiated, and performed his identity during the Svadebka / Les Noces villageoises / Les Noces years offer a hint for understanding why, after finally coming so close to completion, Stravinsky put the work aside again. By the autumn of 1917, he still had no major new work. Neither did he have an active publisher (negotiations with J. & W. Chester would begin only in 1918). Diaghilev’s payments were not steady. The 1917 season in Paris – the Ballets Russes’s first season since the beginning of the war, the one which regained Paris for Diaghilev – did not include any première of Stravinsky’s music. Although Petrushka and The Firebird were still hits with the public and though he was clearly back as part of the Diaghilev entourage, the main coup of the season, the revolutionary production of Parade (by Satie, Cocteau and Picasso), was planned and carried out without Stravinsky’s participation; he did not even attend the première. To live up to his self-vision as the premier international composer, he had to get to the forefront again. In post-war Paris, Diaghilev’s ornate pre-war productions and their sumptuous Russianness were giving way to constructivism and the mechanical movement of Parade. Simultaneously, the new aesthetic concepts of ‘neoclassicism’ – such as the universalism of the ‘classical’ arts, limitation and restraint as means of gaining new artistic freedom, the vitality of the mask for distancing art from reality – were at the heart of the latest ‘irresistible pull within the arts’, to use the composer’s phrase. Stravinsky was actually well placed to be part of this new movement, since the techniques and ideas of his own ‘neoclassical’ compositions, as Robert Craft suggested and most scholars agree, had been developing since his earliest works.43 With this general artistic ambience and Stravinsky’s personal sensibilities in mind, it is possible to see how the sound opulence of version 3, with its colourful heterogeneity of timbre and richness of scoring, could have been perceived as passé. It could be that he then realised that his major work since The Rite of Spring, the one which he had just almost completed, was still not right, that the concept of
See Gerald Tyrwhitt’s correspondence with Stravinsky and the Aeolian Co., 8–23 August 1917, PSF, Box 37. Les Noces was eventually cut on five rolls, four of which appeared in 1923, with the fifth produced only in 1924–25. (See Rex Lawson, ‘Stravinsky and the Pianola’, in Confronting Stravinsky, ed. Jann Pasler (Los Angeles and Berkeley and London, 1986), pp. 284–301 (p. 300).) Some dance rehearsals for the première used piano rolls. See Craft, Stravinsky: Glimpses of a Life (New York, 1993), p. 338.
Igor Stravinsky’s Les Noces, the Rite of Passage
instrumental timbre – achieved by pure sound colours – he had cherished all these years now seemed stale. Whatever the reason, in the winter of 1918–19 Stravinsky began working on a new instrumentation of Les Noces villageoises for an ensemble of two cimbaloms, harmonium, pianola and percussion, that is the new version 4 (see Figure 6). His love of the cimbalom and his intense involvement with the pianola finally merged in this novel ensemble, drastically different from all the previous versions; the percussion section is relatively large, also a novelty in Les Noces’s evolvement, likely in tie with the newly composed Histoire du soldat. The new version is characteristic of Stravinsky’s re-instrumentations in general, in that it involved a complete rewriting of musical texture, and not merely the reduction of the score to a smaller ensemble or the redistribution of the existing notes between the new instruments. The draft of this version in full score (FS-4) goes up to the third tableau, the longest of all the preliminary drafts in full score. FS-4 is meticulous and even includes careful drawings indicating the placement of the percussion instruments on stage (see Figure 6). Stravinsky’s rhetoric about the instrumental ensemble in FS-4 being ‘the most authentic Russian village band’ comes from his later reminiscences.44 At the time, however, the tenor of his discourse was different. The connexions between music and cinema, the association of the sound of the pianola with silent film, and the non-diegetic relationship between music and the action on the screen intrigued the composer. Presenting his new Les Noces villageoises to Diaghilev and Massine, he talked about music that evokes black-and-white film and ‘cinematographic rhythm’.45 He no longer considered the piece a ballet, but a ‘divertissement’, entitled ‘“Les Noces” (without villageoises), divertissement in two parts with singing [chant] of soloists and choruses accompanied by an ensemble of several instruments’.46 The instrumentation, so loved by Stravinsky, turned out to be completely impractical: it called for a few odd-ball instruments such as the cimbalom, for which no one could find competent players, plus a mechanical pianola and a harmonium, the ability of which to play together and in tune had never been tested in concert. Thus, Diaghilev found it unacceptable: [O]ur advanced artists, however, paint on the canvas just like everyone else; they do not demolish the theatre in order to make something new. But this good fellow
44 45 46 47 48 49
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Stravinsky, under the pretext of simplifying my task, leaves unoccupied the musicians that I have, and requires from me only four, but one of these four I need to search for in Honolulu, another in Budapest, the others God knows where!47 In addition, geared for a big production in Paris, he did not like the size of the ensemble: ‘But why always these little orchestras? Victory is achieved; no longer any need to fight against Mahler. Now, I would like to return to grand things.’48 The situation with Diaghilev was getting serious, as he and Stravinsky were in the midst of edgy negotiations for a new contract (the 1917 contract was about to expire). In addition, Stravinsky now had a publisher, J. & W. Chester in London, whose conditions had to enter the negotiations as well. It took a long time, but eventually, with the push of intermediaries – Ernest Ansermet (Diaghilev’s main conductor), Otto Kling (Director of Chester) and Misia Sert (Diaghilev’s and Stravinsky’s patron) – all was settled amicably, and in December 1919 the Stravinsky / Chester and Chester / Diaghilev contracts were signed. The date of Stravinsky’s delivery of partition d’ensemble and réduction pour piano et chant to Chester was stipulated as 1 August 1920, and Diaghilev received the exclusive rights to perform ‘the ballet Les Noces villageoises’ in all countries except the United States of America until 1 August 1923. Diaghilev thus was fully motivated to première Les Noces (Stravinsky now insisted on dropping ‘villageoises’ from the title) in the next season of 1920. But it was not to be. Suddenly, Stravinsky had several commissions for compositions to be completed in 1920, on which he needed to work simultaneously.49 That year brought six premières of Stravinsky’s music in the world capitals of Paris, London and New York. The composer clearly achieved what he wanted: he was back in the Parisian and London spotlights, and he was the centre of attention all over the world. He left Morges for France in April 1920, ready to take a permanent place in the Parisian artistic landscape. The score of Les Noces had meanwhile remained untouched since the summer of 1919. The première was now pencilled in for May 1921 at the Opéra, although Massine, who was until this point the intended choreographer of Les Noces, had parted with Diaghilev and left the company. The instrumentation was still not decided. Under pressure from Kling, Stravinsky considered the
Stravinsky speaking in a documentary film Once, at a Border…Aspects of Stravinsky, directed and edited by Tony Palmer (W. Long Branch, N.J., 1982); also in Stravinsky and Craft, Retrospectives and Conclusions, p. 118. Michel Georges-Michel, Comœdia, 4 December 1919. The all-night meeting when Stravinsky read through his new scores took place in Paris, at the apartment of Georges-Michel, a Parisian critic of note. Stravinsky, letter to Otto Kling, 23 November 1919, in PSF, La Copie de lettres, pp. 197–201 (Stravinsky’s underlining). Ansermet, letter to Stravinsky, 18 July 1919 in Correspondance Ernest Ansermet – Igor Strawinsky (1914–1967), ed. Claude Tappolet, 3 vols (Geneva, 1990–92), vol. 1, pp. 134–35. Ansermet, letter to Stravinsky, 4 May 1919, in ibid., vol. 1, pp. 87–89. These were: a string quartet for Alfred Pochon (Concertino), Le Chant du rossignol, commissioned by Diaghilev earlier, a composition in memory of Claude Debussy commissioned by Henry Prunières (it would eventually become Symphonies d’instruments à vent), and finally Pulcinella for Diaghilev.
xvi
Igor Stravinsky’s Les Noces, the Rite of Passage
possibility of mechanising the cimbalom in the manner of Pleyel’s mechanical piano (January–February 1921), or having four pianolas (two to replace the cimbaloms) with harmonium and percussion (March 1921), or even scoring it for pianolas and wind bands with saxhorns and flügelhorns.50 These turned out to be impractical as well. They were also not welcomed by Kling, who was becoming nervous, still without any score and thus unable to publish in time for the intended première. His message to the composer was straightforward: forsake the odd and mechanical instruments similar to those in FS-4 and come up with some fresh ideas in a hurry. Kling did not receive the piano-vocal score until 23 May 1921. Along with sending the score, Stravinsky informed Kling that he was ‘going to entirely re-orchestrate [Les Noces] for a new ensemble of wind instruments, percussion and one or two parts for piano’.51 Symphonies d’instruments à vent was of course completed by then, but this plan to remove the ‘less cold and more vague’ strings in preference for his new ideal sonority, wind instruments, ‘more apt to render certain rigidity of the form’,52 never materialised. The new concept of instrumentation, however, was a drastic step towards the final transformation of Les Noces into an abstract, stripped-down work. The première, for various reasons, had to be postponed for a year once again, first to the spring of 1922, and then to the following spring. In addition to the undecided instrumentation, a conceptual disagreement between Goncharova and Bronislava Nijinska, who took Massine’s place as the choreographer only in early 1922, may have contributed to the postponement as well. The definitive date for the première was finally set for the May–June 1923 season in Paris at the Théâtre de la Gaîté-Lyrique.
Version 5 About 1921, sound as matter, from which musical form is built, became the focal point of Stravinsky’s discourse. A composer’s job, Stravinsky said, is no different from that of an architect or craftsman who assesses and measures his material at hand before he builds his object; marble and wood, for example, have different densities, volumes and weights, and these determine the construction of the work: 50 51
52
53 54 55 56
The only forms which are worth anything are those which flow (découler) from the musical material itself. We have wind instruments, stringed instruments, percussion instruments, and the human voice – there is our material. From the actual use of these materials the form should arise.53 These ideas began to permeate all his latest works, culminating in Octet, on which Stravinsky worked in the spring of 1923, at exactly the time he finalised the instrumentation of Les Noces. The rhetoric, though, is hard to reconcile with the history of Les Noces: its musical form was built in 1917, but still almost six years later the composer was searching for its matter. Be that as it may, on 18 April 1922, Stravinsky announced Les Noces’s new instrumental ensemble: ‘only 4 pianos and percussion’,54 thus arriving at version 5 of Les Noces, the score for which would be not completed until 5 May 1923, five weeks before the actual première.55(See Figure 8 on p. xxxi.) Now, he had the sound of Les Noces in black and white, reduced to two fundamental matters: ‘blown’, allotted to the voices, and ‘struck’, entrusted to the pianos and percussion.56 The novelty of ‘sound matter’ as a concept notwithstanding, it is revealing to see – with the benefit of hindsight – that a search for Les Noces’s sonorous matter was simultaneously as gradual and as non-linear a process as composing ‘the music per se’. Certain seeds of the sonorous idea (though not as a rhetorical concept of matter) of two contrasting sounds existed already in FS-1, with the percussive and the continuous sound colours playing against each other. Throughout his work on Les Noces, Stravinsky searched for an appropriate embodiment of struck matter, whether in the guise of percussive strings, cimbalom, piano, harpsichord, two cimbaloms, or ultimately four pianos and percussion. One more realisation of Stravinsky’s notion of sound matter in Les Noces’s score is the stripped-down dynamic nuances. He creates sound contrasts, build-up and decrease, not so much through changes in dynamics, which are scarce in the score, but rather through the volume, density and weight of his matter, that is, through the number of instruments and voices in any particular block of music, by the register used, and by the density of the contrapuntal layers in the musical texture. What Stravinsky said about
The latter instrumentation is mentioned in Stravinsky and Craft, Expositions and Developments, p. 118; all the former are mentioned in the correspondence between Stravinsky and Kling (PSF, microfilm 81). Letter to Kling, 26 March 1921, in PSF, La Copie de lettres, pp. 267–70. Stravinsky came up with this instrumentation when he stayed at the house of Coco Chanel in Garches. It is clearly not the final instrumentation, however, and his oft-quoted statement that the final instrumentation ‘suddenly’ dawned on him in Garches must be corrected. (See Stravinsky and Craft, Expositions and Developments, p. 118.) Stravinsky, ‘Some Ideas about my Octuor’, The Arts 5, no. 1 (January 1924), p. 5. In 1919, while working on Piano-Rag for Artur Rubinstein, Stravinsky allegedly told him: ‘You still think you can sing on the piano, but that is an illusion. The piano is nothing but a utility instrument and it sounds right only as percussion.’ (In Rubinstein, My Many Years (New York, 1980), p. 102.) ‘Interview with Stravinsky’ by a special correspondent of The Observer, 3 July 1921. Stravinsky, cable to Ansermet, 18 April 1922, in Correspondance, ed. Tappolet, vol. 2, p. 8. See ‘Editorial Policy and Filiation’ in the present edition for more details. Cf. M. B. [Maurice Brillant?], ‘“Noces” d’Igor Strawinsky à la Gaîté-Lyrique’, Comœdia, 12 June 1923, based upon an interview with Stravinsky.
Igor Stravinsky’s Les Noces, the Rite of Passage
Octet in the 1924 article quoted above also applies to his latest version of Les Noces: I have excluded from this work all sorts of nuances, which I have replaced by the play of these volumes. I have excluded all nuances between the forte and the piano; I have left only the forte and the piano. There is more to the final instrumentation of Les Noces than Stravinsky’s most famous characterisation of its sound as ‘at the same time perfectly homogeneous, perfectly impersonal, and perfectly mechanical’. Along with the machine-like precision – surely a new defining quality of beauty at the time – other concepts central to the Parisian discourse on the modern arts were austerity and bare essence, contempt for affectation and richness of style, reverence of limitation and utmost simplicity. Stripping down the lavish sound of a large ensemble of Les Noces’s version 3 to two clean and elementary aural matters, blown and struck, was one of Stravinsky’s responses to such aesthetic ambience. Nijinska, experienced in experimental dance, did grasp the spirit and significance of Stravinsky’s score. After listening to Stravinsky’s banging on the piano and growling through the score, and after working with him on it, she came up with her own powerful vision of the aloof and impersonal ballet in black and white.57 Nijinska’s choreography apparently responded well to Stravinsky’s own ideas of the relationship between music and action: they, as in cinema, should play alongside each other, rather than express or duplicate each other directly. Goncharova too abandoned her richly folkloric costumes with tall kokoshniki and boots (her ‘folklore’ had horrified Stravinsky already in 1919) and came up with a new design: two costumes only, one for all the women and one for all the men, all in brown and white; the backdrop is plain, deliberately painted in cold blue-grey, with only a small offcentred window placed at two different spots to situate the actions at the bride’s and at the groom’s houses. Stravinsky’s alleged earliest vision of all the performers sharing the stage, as quoted earlier in this essay, did not materialise exactly during the première, since, at Diaghilev’s suggestion ‘on aesthetic grounds’, only the pianos and the dancers were on stage, with the percussion ensemble and all singers in the pit.58 The production was nevertheless highly coherent: the music, the visual aspects and the choreographic movements interacted to bring a unified and wilfully detached aesthetic realisation to perfection. While the absolute sobriety and machine-like precision of the music were considered its great beauty in the eyes of those critics who loved Les Noces at the première, some of the same 57
58 59
xvii
reviewers expressed mixed reactions to the cold, machinelike quality of the movement, the emphasis on unison groups and the austere décor. * * * The non-linear compositional history of Les Noces reflects Stravinsky’s idea of the composition in blocks, the conception that defined both its compositional process and its structure. Each structural block can be repeated exactly, or shifted in musical space (to a different pitch) or in time (to a different beat). It can vary, expand or contract. Each block can be juxtaposed, superimposed or interspersed with other blocks, but it cannot develop into something different as a result of these transfigurations and interactions. In spite of this, Les Noces embodies a startling – if not paradoxical – duality of structural disjunction and coherence, abrupt juxtaposition and connectedness, the duality that converts the self-contained parts into an uninterrupted thrust from the first to the last note. The work’s remarkable coherence is achieved in many ways, two of which relate to Stravinsky’s sharp sense of temporal proportion. This sensibility enhanced his faculty in maintaining the structural control of the piece through the specific placement of musical blocks (space) and through the precise duration (time).
Musical space: the case of the Mitusov melody Even if we look into just the melodic aspects of Les Noces, it is not difficult to see that Stravinsky designed the first appearance of the Mitusov melody in full as the apex of the work’s entire melodic construction. Some sketches show that the idea of using the Mitusov melody in the last tableau was already formed early in the compositional process; a strategy of starting with the end or having known the end from the beginning, as it were, is familiar from other of Stravinsky’s pieces as well, Renard and Symphonies d’instruments à vent being but two famed examples. Stravinsky unplaited the melody into short melodic gestures, pitch collections, even single intervals (the fourth and the minor seventh specifically). He spread them out through the first three tableaux according to his own order, building towards the direct precursor of the Mitusov melody, the song Khmel’ at [78]. He finally tightly plaited them back into one tune at [110]+2, first inconspicuously, then at full blast. The Mitusov melody, then, encapsulates the main melodic vocabulary and melodic design of the work, just as the octatonic scales constitute the work’s harmonic vocabulary and pitch framework.59
Stravinsky’s reaction to the Nijinska choreography varied from accepting it as ‘compatible with my conception of the ritualistic and nonpersonal’ (Stravinsky and Craft, Expositions and Developments, p. 117) to being unhappy for changing his original vision (An Autobiography, p. 106). About Nijinska’s choreography for Les Noces see Stephanie Jordan’s ‘Dancing Les Noces’ in the present edition. Stravinsky and Craft, Expositions and Developments, pp. 117–18. Several scholars have undertaken in-depth analyses of the work: see those, which include discussion of the work’s octatonicism, in Pieter van den Toorn, The Music of Igor Stravinsky (New Haven and London, 1983) and Taruskin, Stravinsky and the Russian Traditions.
xviii
Igor Stravinsky’s Les Noces, the Rite of Passage
The Mitusov melody does not represent the entire scope of Les Noces’s melodic idioms, but it does provide a revealing marker for the understanding of Stravinsky’s technique. He used all other sources in a similar manner, be they folk rituals, texts, folk melodies or chants, without copying anything, but absorbing and then using material according to his own design ‘with absolute freedom’.60 Les Noces’s melodic coherence was thus assured, not by any musical thematic development, but rather by the strategic succession of disjointed melodic blocks, by the calculated interpolation of thematic snippets, and by their juxtaposition, shifting and reassembling.
Musical time: the Golden Section Parisian artists, having rediscovered the concept of the Golden Section in Leonardo da Vinci’s Trattato della Pittura, advocated it as a means of rhythmic organisation of artistic space. For the painters who participated in the 1912 exhibition La Section d’or (Stravinsky knew almost all of them personally), the ancient mathematical law of proportion was an aesthetic idea, rather than a scientific formula applied to the actual painting; they were ‘in a sense mathematicians without knowing it’.61 For Stravinsky, however, the idea of the Golden Section (GS hereafter) may have appealed in a special way, and not only for the reasons of adherence to a fashionable idea: throughout his life, he often likened music to mathematics, an affinity he had gained in his student years in St Petersburg. For an ear trained to recognise it, the GS is palpable in the proportions of Les Noces’s two parts, as well as within each individual tableau. It would be difficult to imagine Stravinsky’s counting the number of beats in each section of Les Noces, calculator in hand, although his sense of temporal proportion is staggering (Table 1):
Calculated according to the metronome markings in the score, the temporal proportion of the two parts deviates from the mathematical GS by only eight seconds. On the level of each tableau, the GS is also consistently marked by a momentous musical section: the culmination Ray! ray! in the first tableau; in the second tableau, the GS falls between the only a cappella episode in the entire composition, the chant at [50], and the incantations at [55], the onset of the tableau’s final drive; in the third tableau, the departure of the couple to church sharply coincides with the GS, with the pivotal moment in preparation of the Mitusov melody – the song Khmel’ at [78] – only a few seconds before it. Finally, in the fourth tableau, the GS falls in the midst of a brisk succession of climactic episodes reiterating the Mitusov melody in full and bringing the return of the melodic gesture that opened the composition. Most striking of all, at [120], squarely in the middle of the culminating activities and shortly before the GS, the Mitusov melody sounds with a pronouncement by the master of ceremony, the great svat Savel’iushka: ‘I put together my svadebka as a wonder to behold’ – a magnificently mischievous calculation by the composer, leaving one to marvel at who is really talking here and about which svadebka.62 * * * Stravinsky had a keen sense of the times in which he lived and a great aptitude for metaphoric thinking. He used these skills in powerful ways to transform any idea or verbal expression that came his way from the outside world into a compositional impulse or technique. He needed these external impulses to feed his imagination. The creative artists at work in contemporary Paris not only fed his ambitions and imagination socially and artistically, but also provided him with a wellarticulated rhetoric with which to create his new identity.
Table 1
60 61
62
Tableau
Length
Calculated GS
[Reh. No.] / Time
Episode
1
319"
198"
[16] / 211"
Climax of first tableau
2
315"
195"
[50] / 171"
Chant a cappella
[55] / 225"
Incantations
3
174"
107"
[80] / 108"
Departure to church
4
504"
312"
[120] / 285"
Svadebka line by the svat
Total
1313"
811"
[87] / 803"
Beginning of Part II
An Autobiography, p. 106. Guillaume Apollinaire, Apollinaire on Art, ed. Leroy C. Breunig, trans. Susan Suleiman (New York, [1972]), p. 198. About Stravinsky’s applications of mathematical proportion and ratio see, specifically, Jonathan Kramer, ‘Discontinuities and Proportion in the Music of Stravinsky’, in Confronting Stravinsky, ed. Pasler, pp. 174–94, and Glenn Watkins, Pyramids at the Louvre: Music, Culture, and Collage from Stravinsky to the Postmodernists (Cambridge, Mass., 1994), particularly pp. 263–64. Stravinsky rationalised the meaning of svat in a typewritten note, probably in preparation for the first edition: ‘We have left in French the Russian word “svat”, which is untranslatable and which designates, in the Russian countryside, the figure [personnage] in charge of, as it were, officially conducting marriages. He is, if you will, the “male matchmaker” just as there is the female matchmaker, and, of course, one of most important people among the guests.’ (PSF, mf 121/1902.)
Igor Stravinsky’s Les Noces, the Rite of Passage
As he worked on Les Noces, Stravinsky became an essential part of the vital and fluid Parisian artistic scene. His individual myth-creation was successful because he recognised the aspirations of the Parisian artists and their own myths. As much as he contributed to shaping the aesthetics and consciousness of the Parisian artists, however, he was also shaped by them. The symbiotic relationships that ensued required a thorough re-examination of his own initial vision of the Russian wedding ritual and how it needed to evolve to fit his new identity, his temperament and his artistic convictions. In Les Noces, the rite of passage of his own making, Stravinsky was able to tap into the symbolic powers of two quite different phenomena: the old
Figure 1. Stravinsky’s transcription of a folk song taken down from singing by Stepan Mitusov and quoted throughout the second half of the fourth tableau. [PSF] Figure 2. Stravinsky’s notation with a note ‘Bells of St Paul’s in London. The most wonderful counterpoint I ever heard’. The ‘tune’ from the bottom line is used in the first and third tableaux. [PSF]
xix
Russian village ritual and the aggressively modern Parisian aesthetic. The eleven years’ work constituted the time of Stravinsky’s struggle with those many converging perspectives that gave the work not only its ultimate shape but also its potent energy. To-day, almost a hundred years after its conception, the austere wedding of Svadebka / Les Noces provokes an emotional immediacy and exercises irresistible fascination for the listener as perhaps no other composition by Stravinsky. Whether presented as a choreographed and staged ballet or as a strictly concert divertissement-cantata, it retains the same vitality and power the composer had envisioned.
xx
Figure 3. The second version of Les Noces, FS-2b. The word ‘First’ in the heading ‘First Act’ is written over ‘Second’, reflecting the transformation of the original scenario. Long bars, slow tempo, and the short opening melody are characteristic of version 2. [PSF] Figure 4. The first version of Les Noces, FS-1, reproduced here for the first time. The heading ‘Second Act / First tableau’ and the opening chorus Chesu pochesu Nastas’inu kosu (I comb, I am combing Nastas’ya’s tress), reflect the original scenario. [PSF]
Igor Stravinsky’s Les Noces, the Rite of Passage
Igor Stravinsky’s Les Noces, the Rite of Passage
xxi
Figure 5. The third version of Les Noces, FS-3c. The heading in Russian and French reads ‘Svadebka / Text (after Russian folk songs) / and music by Igor Stravinsky. First part / First tableau’. The epigraph, in Russian only, reads ‘Two rivers have flowed together / Two matchmakers have come together / They thought the thought about a blonde tress / “How shall we unbraid the blonde tress / How shall we divide the tress into two?”’ [PSF] Figure 6. The fourth version of Les Noces, FS-4. Stravinsky’s drawing on p. 54 shows the disposition of the suspended triangle and cymbals. [PSF]
SOURCES MARGARITA MAZO
The sequence of the sources in this list suggests their basic filiation, although most sources contain layers of revisions and annotations written at various times.
Abbreviations in source identifications FS Autograph in full score HMB Hand-made notebook InS Autograph score of the instrumental ensemble without vocal parts PR Printed score Prf Proof Prtc Autograph in particell Skk Sketches VS Autograph of piano-vocal score
Libraries and archives BL The British Library, London BN Bibliothèque nationale, Department of Music, Paris PML Pierpont Morgan Library, New York PSF The Stravinsky Archive, Paul Sacher Foundation, Basle, Switzerland RAL C. F. Ramuz’s Archive, Bibliothèque cantonale et universitaire Lausanne, Manuscript Department, University of Lausanne, Switzerland WSB Stadtbibliothek Winterthur, Switzerland
HMB-1
Les Noces hand-made notebook no. 1, early sketches, mostly verbal; 24 pp. [1914–?]. PSF.
Skk
Single-page musical sketches and short rough drafts of episodes for all versions; about 250 pp. 1914–23. PSF, PML, RAL.
Prtc-PML
First draft of first tableau up to [16] in particell, versions 1–3; lead and mauve pencils, 13 pp. [1914–15]. In addition, two pages are filled later with instrumental sketches in black ink for the third tableau. Vellum folder is hand-painted by Stravinsky. PML, Department of Music Manuscripts and Books, Robert Owen Lehman Deposit, call no. Lehman Deposit, no accession no. Carbon copy of the first 13 pp., with Stravinsky’s revisions, makes up the first section of Prtc-W.
FS-1
Draft of full score, version 1; lead pencil with a carbon copy, 4 pp. [1914]. PSF.
FS-2a
Rough draft in full score of a new opening episode, version 2; lead pencil with a carbon copy, 1 p. plus pp. 2–4 of FS-1. [1915]. PSF.
FS-2b
Rough draft in full score of a new opening episode, version 2; 2 pp. (p. 1 is a carbon copy of p. 1 from FS-2a with additions in mauve pencil, continued on p. 2), plus pp. 2–4 of FS-1. [1915]. PSF.
FS-3a
Draft in full score up to [4], version 3; black ink, 5 pp. [1915]. PSF.
FS-3b
Fair copy in full score up to [7], version 3; black ink, 8 pp. Worked from FS-3a. [1915]. PSF.
FS-3c
Fair copy in calligraphic script, full score of the first tableau up to [16], version 3; black and red ink (French translation), 21 pp. (score plus list of instruments). [1915–17]. Signed retrospectively ‘Leto ot R. Khr. 1914–15–16’ (The Year of our Lord 1914–15–16). PSF.
HMB-2
Les Noces hand-made notebook no. 2, sketches for the fourth tableau, [110] to the end, version 3; lead and mauve pencils and black ink, 69 pp. Signed ‘29 Sept. 11 Oct. 1917. Morges’. PSF.
Prtc-W
Entire work, version 3, in sketches (first, second and third tableaux) and continuous draft (fourth tableau), many sections in particell; lead and mauve pencils, black, red and green ink, 140 pp. plus 5 pp. front matter (including a dedication page to Werner Reinhart). Signed ‘Morges, 29 IX / 11 X 1917’. WSB, Rychenberg-Stiftung.
VS-1
First continuous draft of the entire work in piano-vocal score, worked from Prtc-W; black ink, French text in red ink and lead pencil, 187 pp. [Between 1917 and 1919?]. VS-1 is signed ‘1917. Morges’, but Stravinsky is known to have dated later manuscripts by the date he finished composing. The manuscript contains some indications for instrumentation (for both versions 3 and 4). By comparison with Prtc-W, major structural changes include the expansion of two episodes, the mothers’ lament at the end of the third tableau (by 7 bars) and the bells episode at the end of the last tableau (by 6 bars); the length of these episodes in VS-1 exactly corresponds to those in PR-1 and PR-2. BN, Grande Réserve, ms no. 23176.
xxii
Sources
xxiii
FS-4
Fair copy in full score of version 4, first and second tableaux; black and red ink, 89 pp. 1918–19. PSF.
VS-2
Final fair copy of piano-vocal score; black and red ink, 189 pp. Worked from VS-1; completed in May 1921. Signed ‘Morges, 1917’. BL, Chester Music Loan 75.42.
Prf-1
First proof of piano-vocal score; autograph corrections and annotations by Stravinsky and Nijinska (?); tableau titles not engraved, but Stravinsky penned in the titles for the second and third tableaux; 180 pp. January 1922. PSF.
Prf-2
Second proof of piano-vocal score without any titles; autograph annotations by Stravinsky. February 1922. PSF.
Prf-3
Third proof of piano-vocal score, pp. 1, 28, 71, 90 (first page of each tableau), returned by Stravinsky to J. & W. Chester; titles for the first and fourth tableaux engraved as ‘Kosa / La Tresse’ and ‘Krasnïy stol / Le Repas de Noces’ respectively; titles for the second and third tableaux in Stravinsky’s hand and dedication ‘á [sic] Serge Diaghilew’. April 1922. BL, Chester Music Loan 75.43.
Prf-4a
Fourth proof of piano-vocal score, pp. 1, 2, 28, 71, returned by Stravinsky to J. & W. Chester; all tableau titles and the dedication engraved as corrected in Prfs-3. A mistake in the dedication is corrected in pencil by Stravinsky; the title of the first tableau ‘Kosa / La Tresse’ is crossed out and amended in Stravinsky’s hand to ‘U nevesty / Chez la mariée’. Both corrections are incorporated into PR-1. April 1922. BL, Chester Music Loan 75.43.
Prf-4b
Private copy of the fourth proof in its entirety with some corrections in Stravinsky’s hand and annotations in another hand; most corrections are not incorporated into PR-1. The tableau titles and dedication are as engraved in Prfs-4a, i.e. before Stravinsky’s corrections. April 1922. PML, Mary Flagler Cary Music Collection, Printed Music (PMC), call no. Cary, accession no. PMC 319.
PR-1
Printed piano-vocal score, 180 pp. Russian text on the cover is reproduced directly from Stravinsky’s handwritten page. The date printed on p. 180 is ‘Morges, 1917’. The edition was printed in May 1923 (dated 1922 in copyright notice). J. & W. Chester Ltd., London, plate no. J. & W.C. 9718.
InS-5a
Rough draft of instrumental parts, version 5 (final), up to [35]; lead pencil, 28 pp. 1923. PSF.
InS-5b
Final fair copy of the entire instrumental score, version 5; black ink, 140 pp. Completed on 5 May 1923, signed ‘Monaco, 6 April 1923’. PSF.
InS-5c
Copy of IS-5b, version 5; black ink, not paginated. The first tableau is only partially in Stravinsky’s hand, with second, third and fourth tableaux in the hand of J. Jacob, Stravinsky’s copyist in Paris. April–May 1923. BL, Chester Music Loan 75.45.
FS-5d
Copy of InS-5c, prepared by Chester’s copyist in Paris, Gaston Roy, with vocal parts cut and pasted in from PR-1. May 1923. BL, Chester Music Loan 75.44.
Skk-pnla
Sketches for pianolisation; lead pencil, 25 pp. [1923?]. PML, Mary Flagler Cary Music Collection, Letters and Manuscripts (MFCMS), call no. Cary 0567, accession no. 567.
PR-2
Printed full score, 132 pp. [c. 1923] (dated 1922 in copyright notice). J. & W. Chester Ltd., London, plate no. J.W.C. 45.
PR-2a
Stravinsky copy of PR-2, with autograph annotations, conducting marks and English translation in Stravinsky’s hand. English translation and phonetic transliteration of the Russian text by Gregg Smith; further entries by Robert Craft. PSF.
PR-2b
Stravinsky copy of PR-2, with autograph annotations and conducting marks. BL, Chester Music Loan 75.46.
The principal sources of the new edition are VS-2 and InS-5b.
DANCING LES NOCES STEPHANIE JORDAN
conventional pyramid at the end the effect of an heroic extreme, of a real difficulty’.3 Nijinska’s Noces has also been seen as a post-Russian Revolution comment on the institution of marriage, from a woman’s point of view, with a proto-feminist consciousness underlying it.4 The critic André Levinson called it a ‘Marxist’ ballet,5 no doubt seeing the plain white and brown work clothes as indicative of proletarian wear as much as alluding to peasant uniform dress, and possibly also resonant with the multi-body configurations of Russian avant-garde theatre. Nijinska famously argued her case against Natalia Goncharova’s opulent original designs. Neither did Nijinska’s work conform completely to Stravinsky’s apparent intentions as outlined in his Autobiography: it did not present all the musicians onstage in evening dress alongside dancers in Russian character costumes, in keeping with his idea of a ‘divertissement of the masquerade type’.6 It was a partial realisation of his vision, with the percussionists and singers in the pit. Nijinska holds her own today in two versions of Noces. The work disappeared from the repertory between 1936 and 1966 when Frederick Ashton, then Artistic Director of the Royal Ballet, invited Nijinska to stage it for his company in London. Since then, Irina Nijinska, the choreographer’s daughter, has staged the work, in a version that differs in many small details of movement and timing; this is the version that is now produced around the world. But the architecture and relationships between music and movement remain broadly similar across the two performance traditions. The quest for stability is a major feature of the choreography as well as of the music, and no more obviously than in spatial features. In the opening scene, set in the bride’s house, we see the bride in the centre of her group of friends on one side of the stage, and her parents on the other. Only the front part of the stage is visible. There is one window in the curtain behind the dancers and it is off-centre. Immediately we see asymmetries in terms of size of groups, placement of groups and curtain design. Later, both groups merge by moving sideways into each other, clustering under the window, which has become a kind of off-centre reference point. Finally, there is a moment of huge tension: linked together, the entire ensemble moves to real stage centre, which is stressed for the first time, to form the first volcanic
No editorial commentary on Stravinsky’s Les Noces is complete without consideration of the score as a vehicle for dance. For, although when he was writing the work, Stravinsky would have had concert performance in mind, quite as much as theatrical, the initial conception of the score was as a collaboration with choreography. The music has inspired new choreographic treatments with increasing frequency over the years. But the most notable treatment is undoubtedly the original ballet for the 1923 Paris première by Bronislava Nijinska for Diaghilev’s Ballets Russes, now widely considered a choreographic masterpiece of the twentieth century. It is a work held in the same high regard as George Balanchine’s numerous balletic collaborations with Stravinsky, yet, unlike those, it speaks both to people who admire classical ballet and to those who find it retrogressive. This is a work about an arranged peasant wedding, hardly the occasion for rejoicing. Its style has been variously described as neoclassical, constructivist, stark, impersonal, distancing and artificial (many of the same qualities often ascribed to Stravinsky’s score). The neoclassical epithet is appropriate because, anticipating Balanchine, Nijinska uses pointe work and offers a reflection upon the medium of dance – movement and the presentation and reworking of a limited number of movement motifs – rather than on the classical model of narrative through dance. Nijinska said that Noces was for her ‘the first work where the libretto was a hidden theme for a pure choreography: it was a choreographic concerto’.1 But the body attitude is decidedly unclassical, with blunted arms, a characteristic narrow pencil-like shape over parallel legs, and, as the critic Edwin Denby noted in his vivid description of the movement content, a general direction of motion into the floor: ‘ballet dancers, more familiar with the opposite direction, do these movements with a curious freshness… the leaps seem higher… the ‘pointes’ get a special significance and hardness (almost a form of tapping) […].’2 The notion of constructivism borrowed from the visual arts refers to the architecture of abstract geometric forms, phalanxes, wedges, pyramids and walls, horizontal shape created by the distribution of a group, vertical shape by the piling of body upon body. And Denby went on to note that the ‘general downward direction [of movement] gives the heaped bodies a sense beyond decoration and gives the 1 2 3 4 5 6
‘Reflections about the Production of Les Biches and Hamlet in Markova-Dolin Ballets’, trans. Lydia Lopokova, Dancing Times, February 1937, p. 618. ‘Nijinska’s “Noces”’ (1936), Dance Writings (London, 1986), p. 37. Ibid. Lynn Garafola, Diaghilev’s Ballets Russes (Oxford, 1989), pp. 125–29. Ibid., p. 126, quoting André Levinson, ‘Où sont les “Ballets Russes”’, [Comœdia], 18 June 1923, in Les Noces clipping book, Bibliothèque de l’Opéra, Paris. An Autobiography (London, 1936), p. 106.
xxiv
Dancing Les Noces
pyramid of the ballet, the bride at the pinnacle, ready to be escorted towards a new life. The rest of the ballet continues to reinforce this spatial programme, involving too the resolution of opposed male and female presences, forced to mesh together within the last scene of the ballet and literally as they create the ‘heroic extreme’ of the final, much enlarged assemblage of bodies. The same counterpull between balance and off-balance occurs rhythmically, stabilised at the end with the emphatic stasis of the ‘bell’ section, but we can note too how Nijinska adds to the musical tension by counterpointing her dance motifs and accents, not always fitting the musical patterns neatly, but sometimes diverging from them unexpectedly, bound by beat, but not by dynamics. Les Noces was created at a time when choreographers were beginning to experiment with rhythmic autonomy rather than visualisation of music. After all, if the anxious interactions of collage were in style at the time of the première, why not extend the principle into formal construction? The music critic Boris de Schloezer welcomed the new style: Music is at the root of things, but the dance that takes inspiration from it, becomes imbued with it, suddenly detaches itself in order to develop according to its own terms. There is an intimate correlation between dance and music, but not at the level of particularity or detail. This absence of parallelism which sometimes even leads to a kind of discordance, to effects of contradiction, confuses many people who are used to the slavish translation of music through gesture and pose. Nevertheless, there is a link here between the two elements, and it is rhythm that creates it… De Schloezer asks for even more independence than Nijinska gives him: But over the rhythmic foundation supplied by the music, Nijinska builds her movement construction with a freedom that I would only fault for not reaching its maximum potential. Indeed, the only criticism that I can make of the choreographer is that in a few instances she succumbs to the temptation of literal translation.7 Looking beyond the Nijinska Noces, a 2003 database chronology, ‘Stravinsky the Global Dancer’ (which continues to be updated),8 reveals that there is an interesting tradition of more than sixty settings of the score since the original ballet. The flow barely got going until the mid-twentieth century, probably because of the difficulties of the score for 7
8
xxv
musicians and listeners and its unconventional performance resources. Then, in the 1980s and more particularly in the 1990s, we see an acceleration in the rate of new productions (at least thirty-one since 1990), roughly matching the number of new productions of The Firebird and Petrushka of the same period, and no fewer than four in 2000. It helps, of course, that the score is now available in a range of recordings. Statistics would suggest that Les Noces has become something of a woman’s ballet, a higher proportion of women having set this music than probably any other Stravinsky ballet score, even if this still represents only about a third of the total. In taking on the dual challenges of music and marriage as institution, choreographers have enabled us to hear the score in many different ways, reinvigorating it with different treatments. Two settings have done the rounds of the international repertory, that is, where the Nijinska has not already been used. They are the excellent Jerome Robbins Noces (1965), pointing up the contrast between lightheartedness and tragedy – and with the four pianos on stage when this version was premiered – and the Hollywoodexpressionist version by Jiri Kylian (1982), in which bride and groom are madly in love from the start. Béjart (1965) felt he needed to add a pair of classical dancers in unitards as Visions to inspire the folk bride and groom. On a few occasions, choreographers have shifted the meaning of the Stravinsky score by adding music. Reinhild Hoffmann bolstered her Tanztheater comment on sexual conflict and female identity (Hochzeit, 1980) with songs and piano music by Jürgen Tamchina. Stephan Thoss supplemented the Stravinsky with Arvo Pärt’s Fratres for violin and piano, in an account of the contrasting behaviours of two generations of lovers (Les Noces, 1994). Anne Teresa de Keersmaeker embedded the score within a full-evening work, ‘(but if a look should) April me’ (2003), the expression of many different kinds of human relationship, and using a diverse musical collage. De Keersmaeker is a choreographer who, like Nijinska, engages with the rhythmic detail of the score and gave full analyses of the rhythmic structure to her dancers. She also, like Robbins when he revived his version for New York City Ballet (1998), used the notorious Pokrovsky ensemble’s 1994 recording of the work, a passionately raw, whining and screeching interpretation, certainly an idiosyncratic account of the Stravinsky. Returning to the score’s roots in oral Russian village tradition, it has proved controversial, theatrically vivid, but without the reflective distance from original materials that Stravinsky originally intended. Traditionalists may disapprove; some choreographers at least want to hear their Stravinsky that way.
‘La Saison musicale’, La Nouvelle Revue française, 1 August 1923, p. 247. [‘C’est la musique qui est à la racine des choses; mais la danse qui s’en inspire, qui s’en pénètre, s’en détache aussitôt pour se développer selon sa nature propre. Il y a corrélation intime entre la danse et la musique; mais non dans le particulier, non dans le détail. Cette absence de parallélisme qui aboutit même parfois à une sorte de désaccord, à des effets de contraste, dérouta maints spectateurs habitués à la traduction servile de la musique par le geste et l’attitude. Il y a pourtant ici un lien entre les deux éléments: c’est le rythme qui l’établit… Mais sur le rythme fourni, par la musique, la Nijinska construit son édifice plastique avec une liberté à laquelle je reprocherais seulement de n’être pas absolue: en effet, l’unique critique que je puisse faire au chorégraphe, c’est d’avoir cédé en de rares instants à la tentation de la traduction littérale.’] Stephanie Jordan and Larraine Nicholas, ‘Stravinsky the Global Dancer’ (2003) [internet database], www.roehampton.ac.uk/stravinsky.
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Dancing Les Noces
Yet we need to admit that, whatever choreographers create, they will make us hear the music differently from in concert, as some moments are emphasised more, some less by the dance, as the movement releases or selects particular qualities of sound for our attention, and as the choreographer might even give us a modified sense of large
structure. It remains to be seen, too, how the fresh nuances within a new edition of the score will have an impact on the Les Noces choreographies of the future and on our understanding of those already in the repertoire. For both music and dance, the work has never been more alive.
EDITORIAL POLICY AND FILIATION MARGARITA MAZO & MILLAN SACHANIA
Editorial principles
Filiation and production history 1921–23
The guiding principle of the new edition of Les Noces is to supply a performance score of the composition edited along scholarly lines. Putting this principle into practice is, however, a formidable challenge. For the very concept of a ‘definitive’ text of Les Noces is problematic, even inapplicable; the work actively resists attempts to construct an Urtext. The editorial process is confounded by the work’s non-linear, convoluted compositional history and by Stravinsky’s equivocation during and after its composition over various performance and metrical issues. In the circumstances, the most appealing scholarly approach is to create an edition of the ‘best’ source for the work; this avoids conflating readings from the multiple sources into a completely new version. Yet because Stravinsky completed the piano-vocal score prior to deciding on the final instrumental ensemble, let alone actually writing the instrumental score, it is not possible to identify a single principal source. Accordingly, this edition is founded on two principal sources, which are in Stravinsky’s hand throughout and which are notable for their meticulous preparation, graphic clarity and notational accuracy. The source for the vocal parts is Stravinsky’s final fair copy of the piano-vocal score, VS-2 (see Figure 7). The instrumental parts derive from the final fair copy of the instrumental score, IS-5b (see Figure 8). Because Stravinsky refined details (for instance, in terms of articulation and dynamics) during the proofing stages – presumably often as a result of the ongoing rehearsals – and continued to discover errors after publication, these sources cannot by themselves supply a satisfactory reading for a new edition. The present edition thus routinely incorporates (a) Stravinsky’s corrections or amendments to the vocal parts on the first proof of the vocal score, Prf-1; (b) articulation and dynamic markings in the instrumental parts in the first edition of the full score, PR-2, which plausibly reflect adjustments made during the rehearsal process; and (c) corrections to indisputable errors and clarifications of detail in Stravinsky’s conducting scores PR-2a and PR-2b. Departures from the texts of the two principal sources are recorded in the Critical Commentary, enabling readers to deduce and reconstruct the content of the sources on which this edition is founded. Only obvious misprints and errors are corrected tacitly.
The circuitous and non-linear compositional history of Les Noces has been charted in ‘Igor Stravinsky’s Les Noces, the Rite of Passage’ above. The production process leading to publication from the creation of the final autograph of the vocal score to the publication of the full score is equally complex in its non-linear ‘filiation’ – if this is the mot juste – of manuscript copies and proofing materials. Not all the proof copies, for instance, played a part in the transmission of corrections to the published vocal and full scores. Some proofs and preparatory materials were not returned to the publisher but were retained for rehearsal or other purposes, accumulating layers of corrections, amendments and annotations made during or after the production of a later proof or indeed even after the publication of the first editions. Other preparatory materials may have been returned to Stravinsky after having been processed by the publisher, similarly accruing later annotations and amendments. Stravinsky completed the principal source for the vocal parts, the final fair copy of the piano-vocal score, VS-2, in May 1921. PR-1 was engraved from this manuscript. The first proof, Prf-1 (which is misleadingly labelled ‘2e.Epreuve’ on the title page, though not in Stravinsky’s hand), was prepared from VS-2 and was extensively corrected and annotated by Stravinsky in January and February 1922; it also contains other annotations relating to the choreography and scenario, most probably in Nijinska’s hand. It is not clear what role the extant copy of the second proof, Prf-2, played in the production chain. Some of the autograph corrections inscribed in Prf-2 are not transmitted to the first edition of the vocal score, PR-1, and, conversely, many corrections and alterations that were transmitted through the proofing process to PR-1 are not evident in Prf-2. The correspondence between Otto Kling, the Director of J. & W. Chester, and Stravinsky reveals that Kling sent Stravinsky at least two copies of the second proof.1 Stravinsky forwarded his corrected copy of the second proof (now lost) to Charles-Ferdinand Ramuz so that Ramuz could check the French text; Ramuz then sent the proof back to Kling.2 Stravinsky plausibly retained the other copy, Prf-2, for rehearsal and reference purposes; this proof also contains sketches for some possible textures for the instrumentation. The third proof of the vocal score, pages of which are
1
2
See Kling, letters to Stravinsky, 14 and 25 February 1922. The Stravinsky–Kling correspondence quoted here is housed at the Paul Sacher Foundation, Basle, Switzerland (hereafter PSF), Box 16, ‘J. and W. Chester 1916–1939’, and La Copie de lettres, vol. 2, unless indicated otherwise. See Ramuz, letters to Stravinsky, 2 and 6 March 1922 in Stravinsky: Selected Correspondence, ed. Robert Craft, 3 vols (New York, 1982–85), vol. 3, p. 67.
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Editorial Policy and Filiation
preserved as Prf-3, is notable for its autograph annotations supplying the missing titles for the second and third tableaux and dedicatee. Kling received this from Stravinsky on 19 April 1922 and replied saying that he would do all that was necessary to engrave these two titles and dedication, noting that the other corrections were minimal and that they would be done with care. Stravinsky altered the title of the first tableau in the fourth proof, Prf-4a (see ‘Igor Stravinsky’s Les Noces, the Rite of Passage’ above (p. x, n. 28) and the first entry in the Critical Commentary); given the rapidity with which the corrections from the third proof were implemented,3 this proof probably comprised only the preserved sheets: the title pages of three tableaux and page 2 of the score with small corrections. Another proof of the vocal score, Prf-4b, can be dated to the time of the fourth proof, but it is bound with the score of the entire work in an earlier proofing stage. Most of the corrections in Prf-4b are not transmitted to the published vocal score, suggesting that Stravinsky might have retained this copy; and accordingly Prf-4b, like Prf-1, stands outside a linear filiation of the sources. Stravinsky was dismayed by the errors in the printed pianovocal score, PR-1. Kling, who had authorised thirty special copies of this score for Diaghilev in May 1922 without waiting for Stravinsky’s latest corrections as annotated on Prf-4a,4 apologised, blaming the excessive rapidity of the work in the light of the intended première date, and undertook to accommodate the corrections in the ‘tirage définitif’. The ‘tirage définitif’5 seems to have gone ahead without their implementation – much to Stravinsky’s displeasure – and Kling consequently suggested that the corrections be incorporated into a future new edition or, if they were not too numerous, itemised on an errata page.6 Stravinsky ignored these suggestions and persisted in the matter, even sending Kling a further corrected copy of the vocal score.7 Kling was not to be moved, however, and asserted that Stravinsky was now forwarding him new corrections.8 PR-1 was thus not corrected and no errata list was issued. The piano-vocal score was printed by 29 May 1923.9 Stravinsky had settled on the final instrumentation of the work in 1922. An undated and incomplete first rough draft of the instrumental parts, InS-5a, paved the way for the final fair copy of the instrumental score (without vocal parts),
3 4 5 6 7 8 9 10 11 12 13 14
15
InS-5b, completed on 5 May 1923 in Monte Carlo.10 Stravinsky made another copy of the first tableau of InS-5b, and sent it to Kling,11 the copy subsequently being finished by the Parisian copyist J. Jacob (InS-5c). Jacob sent his copy in instalments, between 23 April and 16 May 1923, to Chester’s copyist Gaston Roy, who was also based in Paris, to make a further copy, FS-5d.12 Roy’s manuscript aligns the instrumental score with the vocal parts pasted in from the published vocal score, supplying for the first time a visual juxtaposition of the vocal and instrumental parts (see Figure 9). It is probable that this copy was sent to Stravinsky and subsequently to the publisher for engraving. (FS-5d was clearly in the composer’s possession for some time, since it carries many prominent autograph rehearsal annotations and corrections, which are not implemented in the published full score; most likely they were made at a later date.) On 4 September 1923 Stravinsky asked Kling to implement some changes to the percussion ensemble. The score originally had one large and one small caisse claire à timbre and one large and one small caisse claire sans timbre. Stravinsky required both large-size caisses claires to be replaced by a tambour à timbre and tambour sans timbre respectively and the tamtam part to be expunged.13 (See the remarks on bars 195–205, 368–88, 538 and 682–95 in the Critical Commentary.) On 6 September 1923, Kling sent Stravinsky a proof of the final pages, from [132] to the end, and assured him that these revisions had been made. Stravinsky continued correcting proofs (now lost) during October 1923.14 The full score, PR-2, with newly engraved vocal parts, was printed circa late 1923. In the decades since its first publication, PR-2 has been reprinted several times. The immediate predecessor of the present new edition is dated 1978 and constitutes a reprint of PR-2 with a few minor amendments and corrections.15
Editorial practice • Square brackets and other symbols indicating departures from the texts of the two principal sources and editorial interventions are avoided in the score. The Critical Commentary records significant departures from the texts
Kling’s letters to Stravinsky dated 19 and 21 April 1922 suggest that these corrections were implemented in no more than two days. Kling, letter to Stravinsky, 16 May 1922. Kling, letter to Stravinsky, 17 July 1922. Kling, letter to Stravinsky, 26 March 1923. Stravinsky, letter to Kling, 6 May 1923. Kling, letter to Stravinsky, 9 May 1923. Kling, letter to Stravinsky, 29 May 1923. Stravinsky, letter to Kling, 6 May 1923. See Kling, letter to Stravinsky, 26 March 1923. Jacob, letters to Stravinsky, 23 April, 7 May and 16 May 1923, PSF, mf 96. Stravinsky, letter to Kling, 4 September 1923. See Stravinsky, letter to Ansermet, 2 October 1923 (Stravinsky: Selected Correspondence, ed. Craft, vol. 1, p. 181); Stravinsky corrected the proofs of the first three tableaux (see Kling’s letters to Stravinsky, 1, 3 and 5 October 1923), but did not have time to finish the proof of the last tableau (see Stravinsky’s letter to Kling of 25 October 1923). Several errata compilations have been in circulation among performers, notably Mark DeVoto, ‘Igor Stravinsky, Les Noces (1923)’, Journal of the Conductors Guild 10 (1989): 47–53.
Editorial Policy and Filiation
•
•
16 17
e
•
e
•
• The use of two principal sources presents a particular difficulty in terms of the discrepancies between their time signatures. These clearly come to light in FS-5d, which juxtaposes the printed vocal parts with the instrumental score as copied by Roy. Stravinsky’s prominent autograph annotations and corrections to FS-5d resolve many of these discrepancies, but readings from this source have not been given as a matter of policy, particularly owing to the absence of the proofs for PR-2. The discrepancies have thus been studied on a case-by-case basis, with reference not only to the principal sources but also to the solutions (or lack thereof) in PR-2. It has often been convenient to adopt the formula ‘x = y’ (for example, 6/8=3/4) where one principal source gives time signature x and the other y, with the Critical Commentary providing the appropriate source documentation. This is not to fudge the issue. Metrical ambiguity is an intrinsic feature of this score, and the sources reveal that sometimes Stravinsky simply could not – or did not want to – decide whether one time signature or another was more appropriate, prompting him to devise ambiguous formulae such as ‘6/8(3/4)’ or ‘6/8=(2/4)’. Much of Stravinsky’s metrical indecision is due to his technique of shifting verbal accent or layering metrically different materials. For this reason, he sometimes indicated different time signatures for parallel passages and constantly revised his time signatures on scores used for rehearsal purposes, such as FS-5d, PR-2a and PR-2b. Tables 2 and 3 indicate an example of the interplay between verbal stress and musical metre. Table 2 gives the text of bars 232–33, 242–43 and 347–48, Kh dee, kh de k nam u khat’ / kh dee k nam oo khat’ 17 (Come, come to our house / come to our house) and compares the regular accentuation of these words in speech with the stress shifts implied by 3/4 and 6/8 metres. Table 3 displays the extent of Stravinsky’s metrical equivocation with regard to these parallel passages and shows the solution given in this edition. • Unless otherwise indicated, the duration of the quaver pulse should remain consistent across time signature changes (i.e. ). e
•
of the two principal sources and justifies individual decisions. It also reports meaningful variants in other sources. Many cautionary accidentals (for instance, cancelling an accidental from a previous bar) have been inserted tacitly, without a remark in the Critical Commentary. Indisputable errors have also been corrected without comment. The notation has been brought into line with modern practice where possible. Stravinsky, in order to avoid ledger lines in his piano notation, sometimes notated pitches played by the right hand on the left-hand stave, and vice versa. Stravinsky’s notation has been left intact, however, where it might have performance or voiceleading implications. The beaming of notational groups in the vocal parts follows the syllabic divisions of the Russian text. Where the syllabic divisions of the Russian and French texts are identical, the corresponding slurs are above or below the stave according to notational convention. Where the syllabic divisions differ, the slurs for the Russian text are above the stave, those for the French, below. The metrical divisions occasionally given above the system in the present edition are annotated by Stravinsky in one of his conducting scores, PR-2b, which give an insight into his conducting practice and his interpretations of his own metrical patterns. As with some other scores by Stravinsky of the time, dynamics are sparse in the principal sources.16 Vigilance is required, then, in supplying editorial dynamics (see ‘Igor Stravinsky’s Les Noces, the Rite of Passage’, pp. xvi–xvii above). To address performers’ needs, the present edition inserts dynamics where they correspond to the markings in other parts and as editorial reminders of prevailing dynamics where a part continues after having been ‘interrupted’ by other parts. Other editorial dynamics are merely suggestions, leaving all decisions regarding their use to the discretion of the performers. All these are inserted tacitly, without square brackets, but all are noted in the Critical Commentary. Care has been taken, however, to leave sufficient space for performers to decide on their own dynamic interpretation.
xxix
Cf., for instance, Igor Strawinsky, Symphonies d’instruments à vent. Faksimileausgabe des Particells und der Partitur der Erstfassung (1920) herausgegeben und kommentiert von André Baltensperger und Felix Meyer (Basle, Switzerland, 1991) See ‘Notes on the Texts and Transliteration’. The syllables affected by stress or metric grouping in Table 2 are shown in bold capital letters.
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Editorial Policy and Filiation
Table 2 Stress in spoken text
Kh -DEE, kh -DEE k NAM oo KHAT’, / Kh -DEE k NAM oo KHAT’
Stress shifts in 3/4
KH -dee, KH -dee k NAM oo / KHAT’, kho-DEE k nam OO khat’
Stress shifts in 6/8
KH -dee, kh -DEE k nam oo / KHAT’ kho-dee K NAM oo khat’
e
e
e
e
e e
e
Table 3 bar 232 [28]+2
bar 233 [28]+3
bar 242 [30]
VS-2
bar 243 [30]+1
bar 347 [45]+2
bar 348 [45]+3 vocal piano
PR-1 IS-5b FS-5d Roy copy
vocal instr.
FS-5d IS annotations
instr. struck out
PR-2
vocal instr.
PR-2b IS annotations PR-2a IS annotations
New edition
3
in 2
struck out; replaced by
struck out; replaced by
Editorial Policy and Filiation
xxxi
Figure 7. Autograph fair copy of the pianovocal score, VS-2, the main source for the vocal parts in the present edition. [Chester Music Ltd.] Figure 8. Autograph fair copy of the instrumental parts, Ins-5b, the main source for the instrumental parts in the present edition. [PSF]
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Editorial Policy and Filiation
Figure 9. A copy in full score, FS-5d, produced by Chester’s copyist Gaston Roy in May 1923 for the production of PR-2. Roy prepared a new copy of the instrumental parts (from InS-5c) and pasted over the vocal parts cut out from PR-1. [Chester Music Ltd.]
CRITICAL COMMENTARY MILLAN SACHANIA & MARGARITA MAZO
Abbreviations used in the Critical Commentary S MS T B s a t b s1 (etc.) s2 (etc.) P1, P2, P3, P4 Timb. Xyl. T.d.b. Triang. C.cl.s.t. Tmb.s.t. Crot.
Bar
= = = = = = = = = = = = = = = = = =
Soprano solo Mezzo-Soprano solo Tenor solo Bass solo Soprano chorus Alto chorus Tenor chorus Bass chorus Divided soprano chorus, upper part Divided soprano chorus, lower part Piano 1, Piano 2, Piano 3, Piano 4 Timbales Xylophone Tambour de basque Triangle Caisse claire sans timbre Tambour sans timbre Crotales
C.cl.à.t. Tmb.à.t. Cym. G.c. RH LH
lv IS
= = = = = = = =
Caisse claire à timbre Tambour à timbre Cymbale(s) Grosse-caisse Right hand Left hand laisser vibrer Igor Stravinsky
Pitches are specified by the Helmholtz system:
Instrument / voice Remark
Premier tableau IS annotation amending the title of the first tableau from ‘La Tresse’ (as in VS-2) to ‘Chez la mariée’ (in parallel with the title of the second tableau, ‘Chez le marié’). This reverts to the planned titles in Stravinsky’s sketches and preliminary drafts. (See ‘Igor Stravinsky’s Les Noces, the Rite of Passage’, p. x, n. 28 above.) PR-2 reverts to ‘La Tresse’, though whether by negligence or design is not clear. 1–2
P1, P3
InS-5b: no LH slur across bar line; here as in PR-2b (IS annotation)
19
P1, P3
InS-5b: RH octave acciaccatura is before bar line; here as S and InS-5a
20, 61, 71
P1, P3
InS-5b: no quaver rests; here as in PR-2
21a, 21b, 72
s, a
dynamics are editorial
22–23, 73–74
S
dynamics are editorial
25–38
P1, P2, P3, P4
InS-5b: etc. come sopra in bar 25 denotes the pattern of articulation and dynamics established in bars 24–25 for the remainder of this section; here written in full
30–31
P1, P2, P3, P4
InS-5b: no hairpins; here as in bars 81–82
35
P1, C.cl.s.t., Tmb.s.t.
InS-5b: rhythm is ; here the rhythm replicates that of the piano part in VS-2; also by analogy with bar 221
39
S
VS-2: no ff; here by analogy with bar 1
39
P1, P2, P3, P4
InS-5b: no ff; here by analogy with bar 1
41, 43, 44, 47, 49 P2, P4
InS-5b: no
52
InS-5b: no >, no sf, no p sub.; here by analogy with bar 11
P2, P4
; here by analogy with bars 3, 6, 8, 9
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Critical Commentary
62
6/8=3/4 in InS-5b; here as in VS-2, PR-1, FS-5d
62, 72
s, a
dynamics are editorial
62, 72, 73, 74
P2, P4
InS-5b: ff between RH/LH staves; here RH ff and LH
63
P2, P4
InS-5b: come sopra; here >, sf, p sub. by analogy with bars 11, 52
70
P1, P3
InS-5b: no LH slur; here as in PR-2b (IS annotation)
75
C.cl.à.t.
InS-5b: sempre sf; here poco sf sempre, as in bar 24
as in bars 21 ff.
76–80
InS-5b: etc. come sopra denotes the pattern of articulation and dynamics established in bars 24–38, 75; here written in full
80
VS-2: no 3/4; here as in InS-5b
83
MS, s, a, P1, P2, P3, P4
85
f is editorial
VS-2, Prf-1, PR-1: no Tempo I. VS-2: no PR-1). Here as in InS-5b, PR-2.
(present in Prf-1 (IS annotation),
85
S
VS-2: no ff; here by analogy with bar 1
85
P2, P4
InS-5b: no ff, here by analogy with bar 1; no and bar 1
86, 89
P2, P4
InS-5b: no
90
s, a, P1, P2, P3, P4
f is editorial
102–6
s, a, T, B
dynamics are editorial
102
P1, P3
InS-5b: no # to a1 LH dyad 2; here as in InS-5a
108
Timb.
InS-5b: continuation line after p extends to bar 109 note 1
118
S, MS, s, a
f is editorial
128
S, MS, s, a
is editorial
142
B
f is editorial
143, 151
T
f is editorial
151–52
P3
InS-5b: RH part from bar 151 chord 1 to 152 chord 1 erroneously notated an octave lower, owing to missing ottava
152
T.d.b.
InS-5b: no footnote; here as in PR-2, where it is referenced to the T.d.b. part in bar 235; relocated in the present edition to the first instance of frôler in T.d.b.
153
T, B, a, t, b
VS-2: no ff; here by analogy with S, MS, s
153
P1, P2, P4
>s are editorial
153
P3
>s to RH/LH chord 1 are editorial
153, 158
T.d.b.
ff is editorial
154
T, a
VS-2: no > to note 1; here by analogy with S, MS, s
158, 163
S, MS, T, B, s, a, t, b
VS-2: no ff; here by analogy with bar 153
158, 163
P1, P2, P3, P4
>s are editorial
158
P2
InS-5b: no e2 RH chord 1; here as in PR-2
160
C.cl.s.t.
ff is editorial reminder
161
P2
InS-5b: no > to LH chord 2; here by analogy with P4
, here by analogy with P1, P3
; here by analogy with bars 3, 6, 8, 9
Critical Commentary
xxxv
162
P1, P2, P3, P4
InS-5b: no >s; here by analogy with bars 159–61
163
P1, P2, P3, P4
ff is editorial
167
S
f is editorial
170
MS
f is editorial
170
P1
> to LH octave 2 by analogy with P2, P3
170
P2, P3
InS-5b: no >s to RH octaves; here as in PR-2
171
B
ff is editorial
171
P1
> to RH octave by analogy with bar 170
171
P2, P3, P4
InS-5b: fff sub.; here sub. omitted
171
P4
InS-5b: no RH/LH >s to chord 1; here as in P2
172
P3
InS-5b: no >s; here as in P1
173–81
S, MS, s, a
dynamics are editorial
178–81
s, a
PR-2: alto chorus doubles soprano chorus from bar 178 note 1 to bar 181 note 4 and then takes the D in the divided soprano chorus (no divided soprano chorus in PR-2); here as in VS-2, PR-1. (In PR-2b, IS deletes the alto chorus part from bar 178 to bar 181 note 5 but does not restore the divided soprano chorus in bar 181 note 5.)
183
183
VS-2: no ; here as in PR-1, PR-2. InS-5b has the equivalent , owing to the time signatures 6/8(2/4) in P1, P3; 2/4 in P2, P4 and Cym.; and 2/4(6/8) in C.cl.s.t., Tmb.s.t. Here as in VS-2, PR-2. S, T, P1, P3
195–205
dynamics are editorial InS-5b, FS-5d, InS-5c contain a tam-tam part. In InS-5b this part is annotated ‘Supprimer le T-T’ followed by the composer’s initials (IS annotation). (See also remark on bars 368–88 below and ‘Editorial Policy and Filiation’, p. xxviii.)
198
B
mf is editorial
198
P4
tre corde is editorial
203
S
VS-2: French text is ‘bord’, not ‘bout’; here as in PR-1, PR-2
205
VS-2: no double bar line at end of bar; here as in InS-5b
206
VS-2: ; omitted in Prf-1, Prf-2; no metronome marking in InS-5b, PR-2. Here as in PR-2a (IS annotation).
206
P2
207
tre corde is editorial InS-5b: etc. come sopra denotes the pattern of articulation and dynamics established in bars 24–38, 75–80, 206; here written in full
215
s, a
VS-2: no hairpins; here as in bar 29
215–16
P2, P4
InS-5b: no LH slur over bar line; here by analogy with bars 29–30, 80–81
216 216–17
VS-2, PR-1, PR-2: 4/8; here 2/4 as in InS-5b. FS-5d has 2/4 above the system (IS annotation). P1, P2, P3, P4
InS-5b: no hairpins; here as in bars 30–31, 81–82
224
VS-2: no attacca subito; here as in InS-5b
224
PR-2b:
after final bar line (IS annotation)
xxxvi
Critical Commentary
Deuxième tableau 225, 258
t, b
229
p is editorial
PR-2b: erroneous ‘2 + 2 + 3’ above system (IS annotation); here corrected to ‘2 + 3 + 2’
229
T
FS-5d: > to note 5 (IS annotation)
230
t, b
VS-2: no p sub.; here as in bar 345
232
t, b
VS-2: no p sub.; here as in bar 347
233
Editorial 3/4=6/8 reflects 3/4 in VS-2 and (6/8) in InS-5b. (See ‘Editorial Policy and Filiation’, Table 3, which compares the sources’ metrical treatment of bars 232–33 and parallel passages.)
242
VS-2, PR-1, PR-2: 6/8; here 3/4 as in InS-5b and as in bars 226, 232. FS-5d has 6/8, amended to 3/4 (IS annotation)
242
t, b
243
No p in VS-2; here as in bar 232 and PR-2b (IS annotation) Editorial 3/4=6/8 reflects prevailing 6/8 in VS-2, PR-2 and prevailing 3/4 in InS-5b (see remark on bar 233)
243
t
VS-2: no >s to note 1, 6; here by analogy with b (also in Prf-1, PR-1, PR-2)
243
P1, P3
InS-5b: no > to LH octave 2; here by analogy with RH
243
P2, P4
InS-5b: no > to LH note 2; here by analogy with RH
244
3/4 is editorial (prevailing 6/8 in VS-2, PR-2; prevailing 3/4 in InS-5b)
244, 245
P1, P3
InS-5b: no > to LH octave 1; here by analogy with RH
244, 245
P2, P4
InS-5b: no > to LH note 1; here by analogy with RH
245
t, b
VS-2, Prf-1, Prf-2:
246
Cym.
InS-5b: no f; here as in bar 235
248
T
f is editorial
248
T.d.b., C.cl.s.t., Tmb.s.t.
InS-5b: no dynamics; here by analogy with bar 235
248, 253
Tmb.à.t.
InS-5b: no p; here by analogy with prevailing C.cl.à.t. dynamics
251
C.cl.à.t.
InS-5b: no p; here by analogy with bar 237
251–52, 256–57
C.cl.s.t., Tmb.s.t. InS-5b: no dynamics, no >s; here by analogy with bars 237–39
253
C.cl.s.t., Tmb.s.t. InS-5b: no f; here by analogy with bar 235
254, 255
P2, P4
InS-5b: no
s; here by analogy with bars 251, 252, 253
254, 256, 257
T.d.b.
InS-5b: no
s; here by analogy with bars 248–52
260
t, b
VS-2: no > to note 2; here as in PR-1, PR-2
at end of bar; here as in PR-1, PR-2
262
Editorial 6/8=3/4 reflects (6/8)3/4 in VS-2 and 3/4 in InS-5b. 6/8=3/4 in Prf-1, PR-1, PR-2.
263
VS-2: no double bar line at end of bar; here as in InS-5b
264
VS-2: no Meno mosso; here as in Prf-1 (IS annotation), PR-1, InS-5b, PR-2
264
P1
InS-5b: p, not p sub.; here as in PR-2
268
T
mf is editorial
273
P1
InS-5b: open slur from LH note 1; here omitted (see bar 264)
273
P3
InS-5b: p, not p sub.; here as in PR-2
Critical Commentary
xxxvii
278
B
mf is editorial
278, 300
G.c.
(sempre poco sf) is editorial reminder from bar 273
284
MS
VS-2: final note is b1; corrected to g1 in Prf-1 (IS annotation)
286
Timb., Tmb.à.t., PR-2: sf G.c.
290
S
mf is editorial
292
T
mf is editorial
292
Timb., C.cl.s.t., Tmb.s.t., Tmb.à.t., G.c.
InS-5b: sf annotated in another hand; here (sempre poco sf) as editorial reminder from bar 273
298
B
mf is editorial
298
Timb., C.cl.s.t., Tmb.s.t., Tmb.à.t., G.c.
PR-2: sf
309 309
VS-2: Poco più mosso at beginning of bar, not half way through; here as in Prf-1 (IS annotation), PR-1, InS-5b, PR-2. Broken bar line from InS-5b, PR-2. s, a
313
p is editorial
VS-2, PR-1: 2/4(4/8) in T; (4/8) in s; and 4/8 in a. InS-5b: 2/4. PR-2: all parts have 2/4 (4/8). Here vocal parts 2/4=4/8, reflecting IS’s equivocation between 2/4 and 4/8 in all sources, and instrumental parts as in InS-5b.
313
T
f is editorial
317
T
VS-2, PR-1, PR-2: (4/8)2/4; here 2/4 as in FS-5d, where 2/4 is reaffirmed adjacent to the T stave (IS annotation), though 4/8 is not deleted. f is editorial.
319
B
f is editorial
321
VS-2: no Tempo I (though metronome marking is present); no Tempo I or metronome marking in InS-5b; here as in Prf-2, PR-1, PR-2
321–22
VS-2: this passage is barred 6/8 | 2/8 | 3/8 (the time signatures 2/8 and 3/8 are not indicated); here as in Prf-2, Ins-5b, PR-1, PR-2
321
S
f is editorial
321
P1
InS-5b: > to RH notes 1–5, followed by etc. marcatissimo; here as P3
324
P1
InS-5b: no > to RH note 1; here as in bar 322
326
Triang.
InS-5b: no mf; here by analogy with Cym.
329
B
f is editorial
329
P2, P4
f is editorial
331
MS
f is editorial
332
S, P2, P4
f is editorial
332
P3
InS-5b: no ff; here by analogy with P1
333, 339
T.d.b.
• to note 2 is editorial
334
S
VS-2, PR-1, PR-2: note 2 is g2, not f2; here as corrected in FS-5d (IS annotation), as in bar 323, and by analogy with P1 LH, P3 LH
334
T
f is editorial
336
MS, b
f is editorial
xxxviii
Critical Commentary
337
s, a, t
f is editorial
340
a, t, b
VS-2: no p sub.; pp subito in Prf-1 (IS annotation), PR-1 (in piano part only); here as in PR-2
342
a, t, b
VS-2: no > to note 2; here as in bar 227
342
P1, P2, P3, P4
InS-5b: no > to LH octave/note 2; here by analogy with RH; also as in bar 227
345
P1, P3
InS-5b: no p sub.; here as in PR-2 and by analogy with P2, P4
345, 347
C.cl.à.t.
(p) is editorial reminder from bar 340
346
B
VS-2: erroneous b to note 1; here as in PR-1, PR-2
347
P1, P2, P3, P4
348
InS-5b: no p sub. in P1, P3; here as in PR-2b (IS annotation) and in P2, P4 by analogy 3/4=6/8 by analogy with bar 233 (see remark on bar 233)
348
P1, P2, P3, P4
InS-5b: no > to RH/LH chord 2; here as in bar 233
350
S, MS, T, s, a, t
VS-2: no ff; here as in PR-1, PR-2
350
MS, T, s, a, t
VS-2: • s, not tenuto lines, to notes 5, 6; here as S
350
P4
InS-5b: bar begins
350, 354, 358
C.cl.s.t., Tmb.s.t., Tmb.à.t., G.c.
InS-5b: no ff; here by analogy with P1, P2, P3, P4
351
S, s
VS-2: no > to note 7; here by analogy with MS, T, a, t (also in PR-1, PR-2)
351
P2
>s to RH/LH chords 2–6 from PR-2 and by analogy with P1, P3, P4
352
b
VS-2: p, not pp; here as in Prf-1 (IS annotation), PR-1, PR-2
355
P4
InS-5b: no G# to LH chord 2; no Bb to LH chord 3; here as P2 (also cf. bar 359)
356
b
VS-2: no pp; here as in Prf-1 (IS annotation), PR-1, PR-2
356–57
P1
InS-5b: LH part an octave higher, owing to omission of 8 bassa; here as in bars 352–53
356
Timb.
InS-5b: no p; here as in bar 352
356–57, 360–61
Timb.
InS-5b: no •s; here as in bars 352–53 (indicated by simile in PR-2)
358
S, MS, T, s, a, t
VS-2: no f; here by analogy with bar 354
358
P1
InS-5b: no >s to LH chords; here by analogy with RH
358
P2, P3, P4
InS-5b: no >s; here by analogy with P1
359
P1, P2, P3, P4
InS-5b: no >s; here by analogy with bar 358
360
b
VS-2: no pp; here as in PR-1, PR-2
360
P1
InS-5b: no p sub.; here as in PR-2b (IS annotation)
362
S, MS, T, s, a, t
VS-2: no ff; here as in PR-1, PR-2
362
T.d.b.
InS-5b: • to note 2, not ; here as in bars 363 ff.
365, 366, 367
Tmb.à.t.
InS-5b: erroneous fr, not tr
, not
; here by analogy with P1, P2, P3
366
VS-2: 4/8(2/4); here 4/8=2/4 as in Prf-1, PR-1, InS-5b, PR-2
367
PR-2b:
368
B, b
after final bar line (IS annotation)
VS-2: no p; here from Prf-1 (IS annotation), PR-1, PR-2; ma sonore is editorial
Critical Commentary
368–88
xxxix
InS-5b, FS-5d, InS-5c contain a tam-tam part which corresponds to the pedal note on E in these bars in VS-2, PR-1. In InS-5b, this part has been crossed out. (See also remark on bars 195–205 above and ‘Editorial Policy and Filiation’, p. xxviii.)
375, 386
S, MS, s, a
VS-2: no mf; here as in PR-1, PR-2
375
P1, P2, P3
InS-5b: no p; here as in PR-2b (annotation)
375–79
P2, P3
InS-5b: IS erroneously gives P2 the music of P3 and vice versa
380
S, MS, s, a
VS-2: no mf; PR-1, PR-2 have mf only in S, MS; here by analogy with bars 375, 386
380
P2, P3, P4
InS-5b: no p; here as in bar 375
380–88
Triang., Cym.
InS-5b: no lv slurs; here by analogy with bars 375–77
386
P1, P2, P3, P4
InS-5b: no p; here as in bar 375
386
Triang., Cym.
p is editorial reminder
388
Timb.
InS-5b: no p; here as in bar 382
389
G.c.
f is editorial
393
FS-5d: 3/4 (IS annotation) until bar 395, where 6/8 is annotated
393
S, MS, s, a
VS-2: no f; here as in Prf-1 (annotation, probably IS), PR-1, PR-2
393
P4
InS-5b: meno f above RH quaver 2; here omitted
395
B
ff is editorial
399
P4
InS-5b: no >s; here by analogy with bars 396–97
400
VS-2: no double bar line at end of bar; here as in InS-5b
400
P2
InS-5b: no RH >s; here as in PR-2
400
Tmb.s.t.
InS-5b: no music for Tmb.s.t. Absence of a whole-bar rest for this instrument and ‘?’ (IS annotation) suggest that the content of bar 399 should be repeated in this bar, as in the present edition
401
to vocal parts from PR-2b (IS annotation). An annotation (not IS) below the system in PR-2a suggests elongating the bar: ‘6/8 without fermata in original[:] ’.
401
S, MS, T, B, s, a, t, b
ff is editorial
401
P1, P3
InS-5b: no p; here as in PR-2
404
P1, P3
InS-5b: no > to LH chord 2; here by analogy with RH chord 2
404, 407
C.cl.s.t., Tmb.s.t., Cym.
InS-5b: no f; here by analogy with Tmb.à.t. in bar 404
405, 408
Timb.
p is editorial
407
P1, P3
InS-5b: no > to RH/LH chord 2; here as in bar 404
409–12
S, MS, s, a, t, b
dynamics are editorial
411
PR-2a: IS bifurcates the bar to articulate a 6/8 pattern in S and MS, reinforcing this with annotated > to S note 4. Simultaneously, he metrically divides s, a into three groups of two quavers, reinforcing this with annotated ‘3/4’ on the s, a staves. Conducting indication in PR-2b is
414
P3
p is editorial
415
P4
p is editorial
xl
415, 419
Critical Commentary
T.d.b.
418
ff is editorial
Editorial 6/8=3/4 reflects (6/8)3/4 in InS-5b (where (6/8) is erroneously omitted in P3 owing to space taken by ‘sub. mf’), (6/8)3/4 in PR-2, 3/4 in PR-2a (IS annotation), 6/8 in FS-5d (IS annotation)
418
Timb.
p is editorial reminder
419
P1
InS-5b: LH note 1 is in square brackets, as here
419
G.c.
(mf secco) is editorial reminder
420
P3
InS-5b: no fff sempre; here by analogy with P1, P2
421
B
ff is editorial (f in PR-1, PR-2)
422–23, 425–26
P1
InS-5b: no LH ottava; here as in PR-2b (annotation, possibly IS)
423
S, MS, s, a
VS-2: no f; here as in Prf-1 (IS annotation), PR-1, PR-2
423
Triang., Cym.
ff is editorial; InS-5b: no ‘baguettes de Triang.’; here as in PR-2
425
T
No fff in VS-2; here by analogy with bar 420 (ff in Prf-1 (IS annotation), PR-1, PR-2)
426
S, MS, s, a
VS-2: no f; here by analogy with T, B
426
B
No f in VS-2; here by analogy with bar 421 (also in PR-1)
426–28
P3
InS-5b: no ottava; here by analogy with bars 423–24
426, 427
C.cl.s.t., Tmb.s.t. InS-5b: no >s; here by analogy with bar 423, 424
427
P2
InS-5b: RH/LH note 6 enclosed in square brackets, as here
428
S, MS, T, B, s, a, t, b
ff is editorial
428
Xyl.
sff is editorial
429, 431
t, b
VS-2: no p to note 2; here as in Prf-1 (IS annotation), PR-1, PR-2
429
P1, P2, P3
mf is editorial (p in piano part in Prf-1 (IS annotation), PR-1)
429
P2
InS-5b: no
429, 431
P3
InS-5b: no lv slur to LH note 1; here by analogy with RH
429
Xyl.
mf is editorial
430, 431, 432, 433, 434, 435
to RH chord 1; here by analogy with bar 431
InS-5b: 3/4, 6/8, 3/4, 6/8, 3/4, 2/4 indicated above the system (IS annotations, probably made after the completion of the manuscript), conflicting with the prevailing 6/8 indicated on the staves in bar 430
430
T, B, t, b
VS-2: no mf; here as in Prf-1 (IS annotation) PR-1, PR-2
430
P3, Xyl.
InS-5b: no
430–34
at end of bar; here by analogy with P1, P2
The diagram on the following page compares the sources’ metrical treatment of this passage; here 6/8 as in VS-2, InS-5b:
Critical Commentary
bar 430 [59]+1
xli
bar 431 [59]+2
bar 432 [59]+3
bar 433 [59]+4
bar 434 [59]+5
VS-2 PR-1 InS-5b
(staves) (above system)
(above system)
(above system)
(above system)
(above system)
FS-5d Roy copy
FS-5d IS annotations
PR-2 PR-2b IS annotations
PR-2a IS annotations
struck out in vocal parts; replaced by
430, 432
P2
InS-5b: no •s; here by analogy with P1
430, 432
P3
InS-5b: no •s; here as in bar 434
always
431, 433, 436, 438 C.cl.à.t.
InS-5b: no sf; here as in bar 429
432
T, B, t, b
VS-2: no mf; here as in Prf-1 (IS annotation)
432, 436
G.c.
(mf) is editorial reminder
433
t, b
VS-2: no poco sf, p; here as in Prf-1 (IS annotations), PR-1
433, 436, 438
P3
InS-5b: no lv slurs to RH/LH chord 1; here by analogy with bars 429, 431
433, 434
Timb.
InS-5b: no lv slurs to note 3; here by analogy with bars 429 ff.
433, 436, 438
T.d.b.
InS-5b: no dynamic markings; here as in bars 429, 431
433, 436, 438
C.cl.s.t., Tmb.s.t. InS-5b: no f; here as in bars 429, 431
433, 435, 436, 438, 439
G.c.
InS-5b: no lv slurs; here by analogy with bars 429 ff.
434
S, MS, s, a
VS-2: no f, no > to note 1; here as in Prf-1 (IS annotation), PR-1, PR-2
434
T, B
VS-2: no f; here as in Prf-1 (IS annotation), PR-1, PR-2
434
t, b
VS-2: no >; here as in Prf-1 (IS annotation), PR-1, PR-2; no f in t1; here by analogy with t2, b1, b2 (also in Prf-1 (IS annotation), PR-1)
436, 438
t, b
VS-2: no poco sf, p; here as in Prf-1 (IS annotations), PR-1
436
P1, P2, P3, P4, Timb., T.d.b.
dynamics are editorial reminders from bar 429
xlii
Critical Commentary
437, 439
S, MS, T, B, s, a, t, b
f is editorial
437
P3
InS-5b: no •s; here as in bars 430, 432, 434
441
S, MS, T, B, s, a, t, b
ff is editorial
441
P1, P2, P3, P4
InS-5b: no sempre sff in P1, P2, P3; here as in piano part of VS-2; ff in P4 by analogy
441
Xyl.
InS-5b: no sempre sff; here by analogy with P1, P2, P3
441
T.d.b., C.cl.s.t., C.cl.à.t., G.c.
dynamics are editorial
444
S, MS, T, B, s, a, t, b
ff is editorial
447
t, b
VS-2: no p; here as in PR-1, PR-2b (IS annotation)
447
P1, P2, P3, P4, Timb.
InS-5b: no p; here as in PR-2b (IS annotation)
448–68
P1, P2, P3
InS-5b: inconsistent application of to paired chords beamed over bar line; here consistently applied in accordance with pattern established in bars 448–49
448
Xyl., C.cl.s.t., Tmb.s.t., G.c.
p is editorial
449
Triang., Cym., C.cl.à.t.
p is editorial
451
s, a
VS-2: no p; here as in Prf-1 (IS annotation), PR-1, PR-2
455–56
t, b
VS-2: no cresc.; here as in t in Prf-1 (IS annotation), PR-1, PR-2 and in b by analogy
455–68
P1, P2, P3, P4, Timb.
InS-5b: no poco a poco cresc.; here as in piano part in PR-1, which has a crescendo hairpin; there should be a gradual but intense build-up to the end of the tableau
457
s, a
VS-2: no mf; here as in Prf-1 (IS annotation), PR-1, PR-2; cresc. is editorial
457
t, b
cresc. is editorial
458
C.cl.s.t., Tmb.s.t.
(p) is editorial
459
Triang., Cym., Cl.cl.à.t., G.c.
(p) is editorial reminder
463, 464
S, MS, T, s, a, t, b
VS-2: no cresc.; inserted above system at bar 463 in Prf-1 (IS annotation) and printed in PR-1, PR-2; here applied individually to each voice for clarity
465
Xyl.
InS-5b: no cresc.; here by analogy with C.cl.s.t., Tmb.s.t., P1, P2, P3, P4
467
S, MS, T, B, s, a, t, b
VS-2: no ff; here as in Prf-1 (IS annotation), PR-1, PR-2
468 468 468
InS-5b: above P1 plausibly applies to entire system; thus here to all voices continuing into third tableau Triang., Cym.
ff is editorial
PR-2b:
after final bar line (IS annotation)
Critical Commentary
xliii
Troisième tableau 469
VS-2: no L’istesso tempo; here as PR-1, InS-5b, PR-2
469–530
S, MS, T, B, s, a, t, b
dynamics are editorial
482
T
VS-2, PR-1, PR-2: note 2 is a1; here b1 as corrected in PR-2b (IS annotation)
486
P1, P3
tre corde is editorial
487
P1, P3
InS-5b: no f; here by analogy with P2, P4
487
P2, P4
tre corde is editorial
488
B
VS-2: no > to note 2; here as in Prf-1 (IS annotation), PR-1, PR-2
488
Timb.
InS-5b: no
489, 503
P2, P4
(f) is editorial reminder
491–514
P4
InS-5b: articulation denoted by etc. sim. in bar 491 RH/LH note 2; here written in full
496
P1, P3
f by analogy with bar 491
503
at end of bar; here as in PR-2
VS-2: 6/8=3/4; here 3/4 as in InS-5b. IS deletes 6/8 from 6/8=3/4 in FS-5d. IS’s equivocation between 6/8 and 3/4 reflects the layering of two metrically different melodies (cf. T with P1)
503
P3, P4
(f) is editorial reminder
504–6
P1
InS-5b: no dynamics; here by analogy with bar 503
505, 506
P1
InS-5b: no >s; here by analogy with bars 503, 504
507
P1
f is editorial
507
P2
InS-5b: no f; here by analogy with bars 488–502
515
InS-5b: no 2/4(4/8); VS-2, PR-1, FS-5d have 2/4(4/8); here 2/4=4/8 as in PR-2
516–20
P2
InS-5b: >s until and including bar 520 RH/LH chord 1 denoted by etc. simile at end of bar 515
516–18
P4
InS-5b: >s denoted by etc. simile at end of bar 515
517–20
P1, P3
InS-5b: no >s; here by analogy with P2, P4
519
P4
InS-5b: no >s to RH, LH octaves, no > to LH octave 1; here by analogy with bars 515–18
520
P4
InS-5b: no > to RH octave; here by analogy with bars 515–19
524 525
InS-5b: 2/4; (4/8)2/4 in VS-2, PR-1; here 4/8=2/4 as in PR-2 P3, P4
(ff) is editorial reminder
529
Prf-1 (IS annotation), InS-5b, PR-1, PR-2: 6/8=(2/4); here 6/8=2/4 as in VS-2
533
Prf-1 (IS annotation), InS-5b, PR-1, PR-2: 9/8=(3/4); here 9/8=3/4 as in VS-2
534
Prf-1 (IS annotation), InS-5b, PR-1, PR-2: 6/8=(2/4); here 6/8=2/4 as in VS-2
534
S, MS
VS-2: f, not ff; here as in PR-2
534
T
VS-2: no ff; here by analogy with S, MS
534
B
VS-2: no ff; here as in PR-2
534
b2
VS-2: no # to F note 5; here as in PR-1, PR-2
536
t, P1, P2, P3, P4 f is editorial
xliv
Critical Commentary
538
S, MS, s, a
f is editorial
538
C.cl.à.t.
InS-5c: ‘petite taille’ indicated at beginning of stave (in Jacob’s hand). Roy copied this erroneously to the triangle stave in FS-5d, in which source IS has deleted the instruction and re-written it adjacent to the C.cl.à.t. stave. (See remarks on bars 195–205, 368–88, 682–95 and ‘Editorial Policy and Filiation’, p. xxviii.)
543–44
VS-2, InS-5b: no
; here as in Prf-1 (IS annotation), PR-1, PR-2
544
G.c.
InS-5b: no f; here as in PR-2
545
Tmb.à.t.
InS-5b: no f; here as in PR-2
546
FS-5d: 6/8 (IS annotation) under system, restored to 3/4 in bar 547 (IS annotation)
548–56
S, MS, T, B, s, a, t, b
dynamics are editorial
549–55
P1, P3
InS-5b: RH/LH >s denoted by etc. sim. in bar 549
551
P4
InS-5b: no
556
P2, P4
InS-5b: no ff; here by analogy with P1, P3
559
Timb., Xyl.
InS-5b: no ff; here by analogy with P1, P2, P3, P4
559
C.cl.s.t., Tmb.s.t., C.cl.à.t., Tmb.à.t.
f is editorial
560–64
P3
InS-5b: no RH/LH
560, 562, 564
P4
InS-5b: no
560–64
Xyl.
InS-5b: no >s from e2 bar 560; here by analogy with bars 559–560 dyad 1
562, 564
P2, Timb.
InS-5b: no >s; here by analogy with bar 560
565
Xyl., T.d.b.
InS-5b: ff as a reminder; here omitted
s; here by analogy with P2
s; here by analogy with bar 559
to RH dyad 1; here by analogy with bar 559
PR-2b: large from beginning of bar to the beginning of bar 571, where p is given (IS annotations); the size and position of these dynamic markings suggest that they apply to the whole score
566
566–69
Xyl.
InS-5b: no >s from bar 566 note 2; here by analogy with bar 565
571
S
VS-2: no lamentando; here as in Prf-1 (IS annotation), PR-1, PR-2. p is editorial.
580
MS
VS-2: no lamentando, no p; here by analogy with S, bar 571
583, 596, 610
P2
InS-5b: no p; here as in bar 571
588
P1, P3
(p) is editorial reminder
589, 603
P4
InS-5b: no p; here as in bar 577
595–96
MS
VS-2: no
597
S
VS-2: no lamentando; here as in bar 571
615
PR-2b:
across bar line; here as in Prf-1 (IS annotation), PR-1, PR-2
after final bar line (IS annotation)
Quatrième tableau 616
VS-2, InS-5b: no Allegro; here as in PR-1, PR-2
616
t
VS-2: no > to note 6; here as in s (also in PR-2)
616
P3, P4
InS-5b: no ff; here by analogy with P1
Critical Commentary
xlv
618
s, t
VS-2: no > to note 6; here as in bar 616
620
S, MS
f is editorial
620
P2, P4
(ff) is editorial reminder
622
T
ff is editorial
622
P4
InS-5b: no > to LH c# 3; here as in bar 624
623
P3
InS-5b: no b to b1 LH note 1; here by analogy with bar 625
624
P3
InS-5b: no >s; here as in bar 622
624
P4
InS-5b: no > to RH e2; here as in bar 622
624
Xyl.
InS-5b: no >s; here by analogy with bar 622
625
P1
InS-5b: no
625
P3
InS-5b: no > to LH note 4; here as in PR-2
627
P1
InS-5b: no >s to RH f 4, LH f 1; here as in PR-2
627
P2
InS-5b: no >s; here as in PR-2
628
S, MS, T, s, a, t
ff is editorial
628–30
P1
InS-5b: >s from bar 628 LH quaver 6 to bar 630 LH quaver 4 denoted by etc.
628
P1, P2, P3, P4, Xyl.
dynamics are editorial reminders
628–31
P3
RH
628
P4
InS-5b: no >s; no très sonore; here by analogy with P1
629–30
P4
InS-5b: no >s; here by analogy with P1
630
B, b
ff is editorial
630
Cym.
(f) is editorial reminder
631
P2, P3
InS-5b: no >s to semiquavers 7–12; here by analogy with >s to semiquavers 4–6
632
b
f e ben marcato is editorial
632
P1, P2, P3, P4
FS-5d: > to chords struck on RH/LH quaver 4 (IS annotation)
632
P2
InS-5b: no fff; here by analogy with P1, P3, P4
632
P2, P3
InS-5b: no >s; here by analogy with bar 631
632
G.c.
InS-5b: no f; here as in PR-2
637, 639
B
VS-2: no port.; here as in Prf-1 (annotations), PR-1, PR-2
637
P2
InS-5b: no > to LH note 1; here as in bar 639
638, 640
P1, P3, Xyl.
InS-5b: no f; here as in the piano part in bar 638 of VS-2, PR-1
638
P2
InS-5b: no f; here as in bar 640
638, 639, 640
P4
InS-5b: no LH >s; here as in PR-2
639–49
S, MS, B, s, a, t, b
dynamics are editorial
641–44
B
Prf-2: marginal annotation ‘à l’8b’ adjacent to bar 641 of stave (the final bar of the page); bars 642–644 note 2 annotated ‘à l’8 basse’ above stave. The final figure of bar 644 is circled and a marginal note indicates:
to note 7; here by analogy with bar 623
ottava is editorial
xlvi
Critical Commentary
which facilitates the octave transfer back to the printed pitch level. (All IS annotations.) IS clearly toyed with the idea of taking the bass solo part of bars 641–644 note 3 down an octave, perhaps for a specific soloist or as an ossia. 645
s
PR-2b: tenuto lines to notes 1, 2 (IS annotations)
645, 646
s, a, t
Tenuto lines are editorial
645
P2
InS-5b: • to final RH chord; here as in PR-2
645
P3
InS-5b, PR-1: RH slur extends over bar line to bar 646 RH chord 1 (also in the piano part of VS-2); here by analogy with P1 in InS-5b
647
P4
InS-5b: RH slur ends RH quaver 4; here as in PR-2
649
P4
InS-5b: no b to a RH chord 5; here as in the piano part of VS-2, PR-1
651
S, MS, T, B, s, a, t, b
VS-2: no f; here as in Prf-1 (IS annotations), PR-1, PR-2
651
s
VS-2: no > to note 1; here as in Prf-1 (IS annotation), PR-1, PR-2
651
P1
InS-5b: no > to final RH dyad; here as in PR-2
651
P3, P4
InS-5b: no ff; here ff as suggested by très fort et détaché in P3
652
P2
InS-5b: f 2, not g b 2, in RH chord 3; here as P1 and PR-2
653
P1
InS-5b: no >s to final RH/LH chord; here as P2 (also in PR-2)
653
P1, P2
InS-5b: no > to g b 1 LH note 6; here as in PR-2
653
T.d.b.
InS-5b: no dynamics; here as in bar 651
655
a, b
VS-2: no ff; here by analogy with s, t
655
P3
InS-5b: no • to LH octave; here as P4
656, 657, 660, 663, 664
P1, P2, P3
InS-5b: no articulation; here by analogy with P4
657
S, MS, T, B, s, a, t, b
VS-2: no sff; here as in bar 656
660
S, MS, B, s, a, t, b
VS-2: no
660, 663, 664
Xyl.
sf is editorial
660
T.d.b., C.cl.s.t., Tmb.s.t., C.cl.à.t., Tmb.à.t., Cym.
dynamics are editorial reminders
663
S, MS, B, s, a, t, b
VS-2: no sff, no s; here as in bar 660
663
P1, P2, P3, P4
(sempre sfff) is editorial reminder
664
S, MS, T, B, s, a, t, b
VS-2: no sff, no s; here as in bars 656, 657
665
S, MS, T
f is editorial
665
P2, P3, P4
f is editorial
667
P3
InS-5b: no sff to c3 RH note 2; here by analogy with sff to c3 RH note 1
668
P1, P3, Xyl., Timb., T.d.b.
f is editorial
s; here as in bars 656, 657
Critical Commentary
668
P3
InS-5b: no sff to c3 RH note 1; here by analogy with bar 667
670
S, MS
VS-2: no f; here by analogy with s, a
673
P2
InS-5b: no >s to RH/LH chord 1; here as in bar 670
673
P4
InS-5b: no > to RH note 1, no LH slur, no • to final LH octave; here as in bar 670
675
xlvii
PR-2b: poco rall. above system (IS annotation)
675
B
VS-2: f; here ff in order to procure a reduction in the choral volume in bars 677, 678
675
b
ff is editorial
675
P1, P2, P3, P4
InS-5b: no ff; here as in PR-2
676–78
S, MS, T, s, a, t, b
dynamics are editorial
678–79, 681
MS
VS-2: passage marked ad libitum; deleted in Prf-1 (IS annotation)
678
Timb.
InS-5b: no ; here as in PR-2
680
T
VS-2: no f; here as in Prf-1 (IS annotation), PR-1, PR-2
682–88
S, MS, T, B, s, a, t
dynamics are editorial
682
P1, C.cl.s.t., G.c. p is editorial
682
P3
p ma sonore is editorial
682–95
C.cl.s.t.
InS-5b: Tmb.s.t. replaced by a second C.cl.s.t. in this passage (see remark on bar 538)
683
P1
InS-5b: no
685
P1, P2
InS-5b: no s; here as in bar 683
690
b, P1, P2, P3, P4, Timb.
f is editorial
690
P1, P3
InS-5b: no > to final LH chord; here as in PR-2
691
s
f is editorial
691, 692, 693
P1, P3
InS-5b: no >s; here as in PR-2
691
C.cl.s.t., Tmb.s.t. InS-5b: no f; here by analogy with C.cl.à.t., Tmb.à.t. in bar 690
692
s, a, t, b
Russian Shchee (cabbage soup) consists of only two letters, a consonant (transliterated as ‘shch’) and a vowel (transliterated as ‘ee’). Since the word is given the durational value of a quaver, this vowel ought to be pronounced. In addition, the ending ‘ee’ rhymes with the previous lines (zamashkEE, rubashkEE), and it is part of the local assonance pattern. It is not clear what Stravinsky meant by placing ‘ee’ in parenthesis.
696
P1, P2, P3, P4
f is editorial
697
a
VS-2: no notes 2–5; here as in Prf-1 (IS annotation), PR-1, PR-2
to LH octave 1; here by analogy with P3
698, 700, 701, 702 P1, P3
InS-5b: no LH slur; here by analogy with bar 697
698
P2, P4
InS-5b: no
699
P2, P4
InS-5b: no articulation to RH/LH chord 2; here by analogy with bar 703
699
Timb.
InS-5b:
702
P2, P4
InS-5b: no
702
Xyl.
(sff sempre) is editorial reminder
703
P1, P3
InS-5b: no > to P1 RH chord 1; here as in PR-2b (IS annotation) and to P3 by analogy
to final RH chord; here as in PR-2
, not
; here as in adjacent bars
to LH octave 1; here as in PR-2
xlviii
Critical Commentary
703
C.cl.s.t.
f is editorial reminder
704
B
p is editorial
704–9
P1, P2, P3, P4
dynamics are editorial
708
VS-2, InS-5b: no Poco meno mosso; here as in PR-1, PR-2
708
S
p is editorial
710–11
S
VS-2: no port., no slide line across bar line; here as in Prf-1 (IS annotation), PR-1, PR-2
710
P1
InS-5b: no slur to demisemiquavers 1–12; here by analogy with bars 708, 709
710
P2
InS-5b has:
Notes 3 and 4 are a later insertion and consequently the bar does not add up metrically. PR-2 corrects this as:
Here as in PR-2a (IS annotation). 710
P4
InS-5b: ff; here f to match B in bar 711
711
S
VS-2: no colla parte; here as in PR-1, PR-2
711
P2
f is editorial
711, 712
P2
InS-5b: no >s; here as in P4
711, 712
P4
InS-5b: no >s to triplet semiquavers bar 711, no > to LH octave bar 712; here by analogy with bar 711 notes 1–4
712, 713, 714
P1
InS-5b: no slurs; here by analogy with bars 708, 709, 710 (also in PR-2b (IS annotations))
715
VS-2, InS-5b: no Tempo I; here as in PR-1, PR-2
715
s, a
f is editorial
715
P1, P2, P3, P4
f is editorial
715
P2, P4
InS-5b: no
715, 717, 718
Timb.
InS-5b: no • s; here by analogy with bars 698 ff. and bar 720
715
G.c.
InS-5b: no f; here as in bar 696
716
b
VS-2: no f; here by analogy with T, B
719
P4
InS-5b: no
719
C.cl.à.t.
f is editorial
721
t
f is editorial
723
C.cl.s.t.
InS-5b: no
to LH octave 1; here as in PR-2
to LH note 3; here by analogy with bars 715 ff.
; here by analogy with T.d.b.
Critical Commentary
724–61
S, MS, T, B, s, a, b
dynamics are editorial
727
P4
InS-5b: no p; here by analogy with P2, bar 724
736
P1, P3
InS-5b: no sfff; here as in bar 734
741–42
B
VS-2: no fausset; here as in Prf-1 (IS annotation), PR-1, PR-2
742, 743
P2, P4
InS-5b: no LH s; here by analogy with RH
742
C.cl.à.t.
InS-5b: no p; here by analogy with Tmb.à.t., bar 741
743
P1
InS-5b: no tenuto line; here as in PR-2b (IS annotation)
744, 746, 748
B
VS-2: no fausset; here as in Prf-1 (IS annotation), PR-1, PR-2
744–49
P2, P4
InS-5b: no s; here as in bars 742, 743
750
Xyl.
InS-5b: no f; here by analogy with P1, P2, P3, P4
750
T.d.b.
InS-5b: no f; here by analogy with C.cl.s.t., Tmb.s.t., Tmb.à.t., Cym.
752
P1, P2, P3, P4
Open slurs are editorial
755–56
P1
InS-5b: no RH slur over bar line; here by analogy with P2, P3
755–64
P1
InS-5b: no •s; here as in P2, P3, P4
755
P1, P3
LH
755
P2, P4
InS-5b: no b to final RH note; here as in PR-2
756
xlix
slur is editorial
See ‘Igor Stravinsky’s Les Noces, the Rite of Passage’, p. xviii, n. 62, for Stravinsky’s understanding of svat
756
P1
InS-5b: no sempre legatissimo; here by analogy with P2
756
P2, P4
RH
763
B
‘- (a) -’ in Russian text to note 2 from the sketches, owing to the tenuto line to note 2
765
P2
InS-5b: no s to LH notes 6, 7; here as in PR-2
767, 769, 772, 774, 775
T
VS-2: no >s; here as in Prf-1 (IS annotations), PR-1, PR-2
767
P3
InS-5b: RH note 4 is dyad f 2, a2; here a2 in keeping with prevailing texture
782
T
VS-2: no Russian text and consequently no rhythm for Russian text; the rhythm of the French text in VS-2 is different from that in PR-1, PR-2; Russian text and rhythm inserted in Prf-1 (IS annotation). Here T as in PR-1, PR-2, except editorial to T note 1 to match s in instrumental parts. (VS-2: no in T, no in piano part; FS-5d has senza pause after final bar line and deleted s in P1, P2, P3, P4 (IS annotations).)
782
T.d.b.
PR-2: no second T.d.b., no
783
p is editorial
on note 1; >s to notes 3, 4 of first T.d.b.
VS-2, InS-5b: no A tempo; here as in PR-2b (IS annotation)
783
P1, P2, P3, P4
InS-5b: no p; here as in PR-2b (IS annotation), where its size and position indicate that it applies to the whole score
794
s
f is editorial
794
P3
InS-5b: no > to final RH dyad; here as in PR-2b (IS annotation)
794
P4
InS-5b: no ff; here by analogy with P1, P3; no # to c2 RH crotchet 2; here as in P1, P3
799
S, MS, a
f is editorial
816
P2
InS-5b: no f; here by analogy with P4
l
Critical Commentary
816
Timb.
InS-5b: forte above note 1, followed by continuation dashes until middle of bar 817
821–33
S, MS, T, B, s, a, t, b
dynamics are editorial
822
P2
InS-5b: no sff; here as in P4
825
b1, b2
VS-2: note 3 in b1 is d, not c; note 5 in b2 is c, not d; here as in PR-1, PR-2
829
P1, P2, P3, P4
InS-5b: no p; here as in bar 783
831, 832, 833, 834, 835
a
VS-2: no > to note 1; here as in bars 829, 830
833
T, B, s
VS-2: no >s to notes 3, 4; here as in PR-2
833
t, b
VS-2: no >s to notes 3, 4; here by analogy with T, B, s
835
s
VS-2: no >s to notes 3, 4; here as in PR-2
840
P1, P3
InS-5b: no s to LH chords 1, 2; here by analogy with RH
840–47
S, MS, T, B, s, a, t, b
dynamics are editorial
840
P2, P4
InS-5b: no ff; here by analogy with P1, P3
841
VS-2: (4/8)2/4; InS-5b has 2/4; here 4/8=2/4 as in PR-2
843
P1
InS-5b:
to RH chord 4 erroneously to RH chord 5
845
P3
InS-5b: no >s to RH/LH notes 1–6; here by analogy with P1, P2, P4
845
Xyl.
f is editorial reminder
846
P4
InS-5b: no
847
P2
InS-5b: no § to g1 RH chord 7, no § to g LH chord 7
847
P3
InS-5b: no § to g1 LH chord 7
848–62
T, B, s, a, t, b
dynamics are editorial
848
Timb.
InS-5b: no dynamics; here by analogy with bar 843
849
Timb.
dynamics are editorial
855
P2
InS-5b: no
855
P2, P4
InS-5b: no fff; here by analogy with P1, P3
856
P1, P3
InS-5b: no p; here as suggested by sub. dolcissimo, legatissimo
859
P2
p is editorial
862
T
(En chantant) is editorial
862
P3
InS-5b: no >s; here as in P1, P2, P4
865
P1, P3
InS-5b: no >s to RH/LH quaver 2; here as in PR-2b (IS annotations)
865
P2, P4
InS-5b: no > to LH quaver 2; here as in PR-2b (IS annotation)
865–66
P2, P4
InS-5b: RH ottava erroneously omitted, owing to commencement of a new page
867
B
ff is editorial
867
P2, P4
f is editorial
868
S, MS, s, a
f is editorial
868
P1, P3
f is editorial
870
B
f e leggiermente is editorial
to LH note 1; here by analogy with bar 848
s to notes 5–10; here as P4 (also in PR-2b (IS annotations))
Critical Commentary
li
(f) is editorial reminder
870
P2, P4
873
C.cl.s.t., Tmb.s.t. (sempre forte e secco) is editorial reminder
873
G.c.
(secco e p sempre) is editorial reminder
874
B, b
VS-2: no ; here as in B in Prf-1 (IS annotation), PR-1, PR-2 and in b by analogy. f e leggiermente in b is editorial.
878
t
VS-2: no
879–82
S, MS, T, B, s, a, t, b
dynamics are editorial
879
b
VS-2: no b2 part; here as in Prf-1 (IS annotation), PR-1, PR-2
879
P3
InS-5b: no s to RH dyads 1, 2; here as in PR-2
880
P1
InS-5b: no > to RH chord 3; here by analogy with bar 870 ff.
880
P2
InS-5b: no ff; here as in P4, bar 879
880
P3
InS-5b: no s to RH dyads 1, 2; here as in PR-2; with bar 870 ff.
884
T
VS-2: no ff; here as in PR-1, PR-2
885, 886
S, MS
ff is editorial
886
B
VS-2: f; here editorial ff
886
s, a
ff is editorial
887
b
VS-2: no >s to notes 3, 4; here as in PR-2
887
P4
InS-5b: no
888
S, MS, s, t
ff is editorial
888
P2, P4
InS-5b: no fff sub.; here by analogy with P1, P3
888
T.d.b.
InS-5b: no f to note 1; here as in bar 903
; here as in Prf-1 (IS annotation), PR-1, PR-2. f is editorial.
to RH dyads 3, 4 by analogy
; here by analogy with P2
888, 895, 903, 907 C.cl.à.t., f is editorial Tmb.à.t., Cym. 889
a, b
ff is editorial
890, 907
T.d.b.
InS-5b: no
892, 896, 909, 911 et seq.
P1, P2, P3, P4
The ‘bells’ chord (struck simultaneously with Cloche and Crotales) should be played with sustaining pedal in these bars (see also remarks on bars 911, 913 and bars 928, 932, 934, 937, 941 below)
895
s, a, t
VS-1: French text is ‘et tout à côté’, not ‘et sous l’oreiller’; here as in PR-1, PR-2 and as S, MS
895
P1, P2, P3, P4
(fff) is editorial reminder
895
P1, P3
InS-5b: no to LH quaver 2; here by analogy with RH octave 1; no here as in PR-2b (IS annotation)
895
P4
InS-5b: no lv slur to LH octave 2; here by analogy with P1, P2, P3; no lv slur to RH a; here as in PR-2; no to RH note 1, LH octaves 1, 2; here as P2
896–904
S, MS, T, B, s, a, t, b
dynamics are editorial
896
P1, P3
f is editorial
897
P3
p is editorial (mp in piano part in VS-2, PR-1)
; here by analogy with bar 894
to LH quaver 2;
lii
Critical Commentary
899
P1, P4
p is editorial
901
a
VS-2: f in front of note 1; here omitted, as in Prf-1, PR-1, PR-2
903
C.cl.à.t.
InS-5b: no notes 9–12; here as in PR-2
907
P1, P2, P3, P4
PR-2: lv slur to final RH/LH quaver in P2, P3, P4; lv slur also to final RH/LH quaver in P1 in PR-2b (IS annotation); here omitted as in InS-5b. (fff) is editorial reminder.
907
P2, P4
InS-5b: no s to RH/LH note 8; here by analogy with bar 895
909–10
T
VS-2, Prf-1, Prf-2: b2, not b1; here as in PR-1, PR-2
911
VS-2: no annotation).
; here as in InS-5b, PR-1. Meno mosso from PR-2b (IS
911
B
VS-2: no f; here as in PR-1, PR-2
911, 913
P1, P2, P3, P4
InS-5b, InS-5c, FS-5d, PR-2 and subsequent reprints: no piano chords. The omission of all four pianos in the chord struck in synchronisation with the cloche and crotales in bars 909, 916 et seq. in these sources reflects Stravinsky’s original idea of scoring the ‘bells’ sound for cloche and crotales only, without pianos, from bar 892 (where the ‘bells’ sound occurs for the first time) to the last bar of the composition, as seen in the copies InS-5c and FS-5d. The pianos in the ‘bells’ chord in bars 892, 896, 909, 916, 919, 921, 927, 929, 933, 936, 938, 944, 946 and 949 are clearly a later addition to InS-5b: bars 915–26 are squeezed into the top margin of the penultimate page of the manuscript on small-size staves ruled by the stravigor, a special device invented by IS for drawing musical staves, and the insertion of the pianos’ chord in other bars (892, 896, 909, 927, 929, 933, 936, 938, 944, 946 and 949) has entailed erasures, some clearly visible, of earlier rests. It is highly plausible that IS overlooked bars 911 and 913 when adding the pianos to the sonority of the ‘bells’ chord from bars 892 onwards. It seems logical to suggest, then, that Stravinsky altered the instrumentation, possibly as the result of the rehearsal process, after Jacob and Roy had completed making their copies. The pianos do play this chord in bars 911 and 913 in Stravinsky’s 1934 recording of the work with the BBC Chorus [CAX 7205-10; reissued on EMI CDS 7 54607 2].
928, 932, 934, 937, 941
P1, P2, P3, P4
InS-5b: extension dashes after each indication. These dashes stop short of the ‘bells’ chord in bars 929, 933, 936, 938, 944, because they predate IS’s insertion of these chords in this manuscript (see remark on bars 911, 913 above), misleadingly suggesting that the pedal should be raised before the ‘bells’ chord is struck. Dashes omitted in present edition.
941, 942
P1, P2, P3, P4
InS-5b: no s; here by analogy with bars 928–29 ff.
NOTES ON THE TEXTS AND TRANSLITERATION MARGARITA MAZO, DINA LENTSNER & MILLAN SACHANIA
Russian text
and for this reason the present edition provides a transliteration that aims at facilitating the performance of the work by non-Russian speakers, without their embarking on an extensive study of Russian diction. The approach to the transliteration here is therefore pragmatic: it is based not on written or spoken words, but on the words’ aural qualities when sung. The difference may be demonstrated by the pronunciation of the Russian unstressed i, which is always longer in singing, and which is consequently transliterated here as ee. To this end, we have designed transliteration procedures that do not entirely conform to any specific existing model; though we have employed some elements of various known transliteration systems, we have combined and modified them to suit our purpose. As always, however, consultation with a specialist in Russian diction or a native speaker is highly desirable, since, despite our efforts, certain sounds can only be fully grasped aurally. The table below explains our transliteration of those vowels and consonants that are pronounced differently in English. They are listed in the order of the Roman alphabet with examples of sounds in English that convey the desired Russian equivalents as closely as possible.
Stravinsky’s final draft of the piano-vocal score, VS-2, serves as the source for the Russian text in this new edition, which presents the text in both Cyrillic and transliteration. Stravinsky’s text uses rural forms of Russian words, dialect vocabulary and speech idioms, all of which contribute to the remarkable sonority of Les Noces. Different spellings and pronunciations of the same word in VS-2 are thus retained in this edition: at [123], for instance, oolitse is first spelt OOlitsE, then YUlitsE, and finally, YUleetsÏ. We have also preserved the composer’s adjustments to punctuation and capitalisation according to his musical phrasing. The Russian orthography and punctuation in VS-2 have been altered so that they conform to current standards. Obvious errors in the Russian text have been tacitly corrected; such corrections have been made in consultation with Stravinsky’s sources of folk songs. The transliteration of Russian text is always a demanding task, since no single existing system can fit different purposes satisfactorily. Stravinsky clearly stated that he preferred Russian as the language for the performance of Les Noces,
Transliteration
Similar sounds in English pronunciation
Russian
a
As a in fAther.
ch
As ch in peaCH.
e
As e in sEt. (For use after soft consonants indicated by an apostrophe, see Nota bene in Additional symbols.)
ee
As ee in indEEd.
g
As g in Go.
ï
No exact English equivalent; a thick back-throat sound, somewhat close to i in Ill or dIll.
kh
As ch in BaCH in German, or j in José in Spanish.
o
As o in pOrt.
oo
As oo in kangarOO.
r
Always rolled.
shch
No exact equivalent. The sound is close to sh in SHeet or sh ch in freSH CHeese, if said as one word: freSHCHeese.
ts
As ts in caTS.
y
As y at the end of daY or boY.
ya
As ya in YArd. (For use after soft consonants indicated by an apostrophe, see Nota bene in Additional symbols.)
ye
As ye in YEllow. (For use after soft consonants indicated by an apostrophe, see Nota bene in Additional symbols.)
yo
As yo in YOga. (For use after soft consonants indicated by an apostrophe, see Nota bene in Additional symbols.)
yu
As YOU or eau in bEAUtiful. (For use after soft consonants indicated by an apostrophe, see Nota bene in Additional symbols.)
zh
As s in pleaSure.
liii
liv
Notes on the Texts and Transliteration
Additional symbols
e (schwa)
’
(apostrophe)
A sign for a mid-central neutral vowel, used for the unstressed vowels a and o; its sound is between a and o, close to o in mOther or to a in sofA. Softness sign; used to soften the preceding consonant and to allow a short glide of the following vowel to be heard, as n in News or t in Tune. Soft consonants result from raising the tongue higher than for a corresponding ‘hard’, non-palatalised sound. Nota bene: after the softness sign, the Russian e sounds similar to e in yEsterday, but with a shortened and almost imperceptible glide. The same principle applies to ya, ye, yo, and yu after the softness sign. M.M., D.L.
French text The French text of Les Noces is a careful adaptation of the Russian, rather than a direct translation, undertaken by Charles-Ferdinand Ramuz in close collaboration with the composer. The French text in the present edition corresponds to that in VS-2, with four provisos. In the first place, punctuation has been added where required (even though Ramuz, while proofreading, indicated that he liked the lack of punctuation and left the text uncorrected intentionally).1 Secondly, the versification has been clarified, where necessary, through the use of capital letters to denote the beginning of new lines. Then, where there is a discrepancy between the text in VS-2 and that in PR-1, the text from PR-1 has been given (with a remark in the Critical Commentary), which almost certainly reflects later changes made by Ramuz. The fourth point concerns the unstressed
1
final syllable of French words such as comme, which may or may not be fitted to an individual note in the vocal parts; frequently this syllable is ‘mute’. VS-2 treats the text in these instances in a variety of ways: a one-syllable comme, for instance, may be given as comm(e), comm’ or in full, comme. In the present edition, an apostrophe generally replaces a mute syllable where the next word begins with a consonant, but not if the ensuing word begins with a vowel. The ‘mute’ syllable is generally given where the word ends a line or phrase on a sustained note. Finally, a remark on the notation. Stravinsky sometimes had to rewrite the melody of the vocal parts in order to accommodate the French text. In this edition, any notes that belong only to the French text are cue-sized. M.M., M.S.
See Ramuz, letter to Stravinsky, 3 March 1922 (Stravinsky: Selected Correspondence, ed. Robert Craft, 3 vols (New York, 1982–85), vol. 3, p. 67).
lv
A photograph from a rehearsal of Les Noces on 3 February 1930 at Westminster Central Hall, London (BBC Concerts of Contemporary Music), conducted by Ernest Ansermet. Stravinsky liked this placement of the performers. [PSF]
L’ENSEMBLE INSTRUMENTAL
1. Quatre parties de Piano 2. Timbales (au nombre de quatre) 3. Xylophone à marteaux et Cloche en pour la fin de la pièce
(son réel)
4. Tambour de basque, Triangle, Cymbale 5. Caisse claire sans timbre, Tambour sans timbre, un second Tambour de basque, et deux Crotales en pour la fin de la pièce 6. Caisse claire à timbre, Tambour à timbre 7. Grosse-caisse et Cymbales
(sons réels)
à Serge Diaghilev
DIE HOCHZEIT
THE WEDDING
I. TEIL
PART I
I. BILD
SCENE I
BEI DER BRAUT
THE BRIDE’S CHAMBER
= 80
Igor Stravinsky
Soprano Solo Zopf, Tress
o my
mein tress,
schö ner O
Zopf!... thou
O fair
mein blon der tress of my
lo hair,
se O
ge my
flocht’ lit
ner tle
Zopf!... tress.
Mezzo-Soprano Solo Ténor Solo 8
Basse Solo
CHŒUR
Soprano Alto Ténor 8
Basse 8
Piano I
sempre
8
Piano II
sempre
8
Piano III
sempre
8
Piano IV
sempre
Timbales Xylophone Cloche Tambour de basque
baguette en bois
Triangle Cymbale Caisse claire sans timbre/ Tambour de basque Tambour sans timbre Crotales Caisse claire à timbre Tambour à timbre Cymbales Grosse-caisse
© 1922, 1925 Chester Music Limited, 14-15 Berners Street, London, W1T 3LJ, United Kingdom, worldwide rights except the United Kingdom, Ireland, Australia, Canada, South Africa and all so-called reversionary territories where the copyright © 1996 is held jointly by Chester Music Limited and Schott Music GmbH & Co. KG, Mainz, Germany. This edition © 2005 Chester Music Limited.
rev. 6/2010
2
1 Voshaugant – Curtain = 160
11
=
S. 1) Ganz 1) My
lang mo
her ther
ab hän brush’d thee,
2) In 2) My
mei mo
nen ther
un be twin’d thee
gend hab mo ther schwer ten with a
ich brush’d
dich ge thee at
tra eve
gen ning,
Jung ring
mäd chen of
ta sil
gen ver.
8
= P. I, III
=
m.d.
= sub.
P. II, IV
=
secco
=
Cym. 2da volta tacet
(Die Braut)
(The Bride) 21
S.
1
=
=
=
ach, ach, ach! Im woe is me, O
mer a
=
1) Ü
berm kur zen Kleid ther brush’d my tress.
1) Mo
a.
=
2
Ach, O
s.
* 2+3
=
2) Ü 2) Mo
berm kur zen Kleid ther brush’d my tress.
=
1) Ü
berm kur zen Kleid ther brush’d my tress.
1) Mo
2) Ü 2) Mo
8
berm kur zen Kleid ther brush’d my tress.
8
=
=
=
=
=
=
8
8
P. I, III
P. II, IV
5
=
5
5
=
[* The metrical divisions occasionally given above the system are annotated by Stravinsky in one of his conducting scores, PR-2b. (See ‘Editorial Policy and Filiation’.)]
5
wie der ach! las poor me.
(Die Freundinnen)
2
3
(The Bridesmaids) = 80
mezza voce
24
3+2
s. Wir käm men und sträh len I comb her tre ses, her
Na stjin kas Flech ten, fair gol den tres ses,
wir Nas
flech ten und le gen das ta sia’s bright hair, Ti mo
Haar uns rer Freun din; feev na’s fair tres ses.
Na I
stjin kas blon des Haar, comb and plait it, with
mezza voce
a.
P. I
8b
8b
P. III
sub. meno
8b
sub. meno
8b
sub. meno
8b
P. II, IV
sub. meno
8b
sub. meno
sub. meno
C.cl.s.t. Tmb.s.t. C.cl.à.t. poco
sempre
3 29
3+2
M.s. Schlin I
get will
ro tes Band hin ein! twine her gol den hair. sub.
s. fest rib
ge floch ten soll es bon red I twine
sein. it.
Wir I
käm men und sträh len comb her fair tres ses,
Na stjin kas Flech ten, bright gol den tres ses,
sub.
a. 8
P. I
8b
8
8b
P. III
sub. meno
8b
P. II, IV
C.cl.s.t. Tmb.s.t. C.cl.à.t.
8b
8b
8b
sub. meno
wir I
4
34
3+2
s. flech ten und le gen das Haar uns rer Freun din, comb and I twine Ti mo feev na’s fair tres ses,
Na I
stass jusch kas Haar, bind her tres ses,
Ti I
fe je wnas Haar, mo comb them and plait them,
uns rer With a
Na stjin fine comb
ka Blond haar. I dress them.
a.
P. I
8b
P. III
sub. meno
8b
sub. meno
8b
P. II, IV
8b
sub. meno
sub. meno
sub. meno
8b
8b
sub. meno
sub. meno
sub. meno
C.cl.s.t. Tmb.s.t. C.cl.à.t.
Braut) 4 (Die (The Bride)
Tempo I
= 80
39
S. Ei nes Cru el, 8
P. I
8
P. III
8
P. II, IV
Partie de Triang.
Xyl. (baguette en bois)
Cym.
Ta ges heart less,
kam came
die the
Hei match
rats ver ma ker,
mitt Pi
le ti
rin, less,
hat te nur eins pi ti less cru
im el
Sinn, one,
müh lo pi ti
sen less
5
5
50
= 160
S. Geld cru
ge el
winn. one.
Sie She
stürz tore
te my
sich tres
kur ses,
zer tore
hand my
auf bright
8
P. I, III
sub.
P. II, IV
Cym. secco
[
59
=
6
]
S. mei nen gol den
Zopf, hair,
teil She
te tore
s. Auf pull’d
it
ih tear
ren Zopf... ing it.
a.
8
P. I, III
come sopra
sub.
P. II, IV
5
ihn und my
legt’ hair
zwei that
6
66
S. ste fe she might
pfe
Zö plait
um it
mei in
nen Two
Kopf. plaits,
s. Um plait
ing
ih it
ren Kopf... in two.
a. 8
P. I, III
5
P. II, IV
2+3
7
73
= 80
S. Ach, O
ach, ach, ach! Im woe is me, O
mer a
wie der ach! las, poor me.
(Die Freundinnen)
(The Bridesmaids) mezza voce
s. Wir käm men und sträh len Na stjin kas Flech ten, wir flech ten und le gen das I comb her tres ses, her fair gol den tres ses, Nas ta sia’s bright hair, Ti mo mezza voce
a. 8
8
8
8
P. I
8b
P. III
8b
sub. meno
8b
P. II, IV
5
8b
sub. meno
5
C.cl.s.t. Tmb.s.t. C.cl.à.t. poco
sub. meno
sempre
sub. meno
7
78
8
2+3
3+2
M.s. Schlin get With a
ro tes Band hin ein, rib bon of bright red,
und twine
ein it
blau es with a
Und twine
ein it
blau es with a
s. Haar uns rer Freun din, feev na’s fair tres ses,
Na I
stjin kas blon des Haar, comb and plait it, I
fest ge floch ten soll es comb it and bind up her
sein. hair,
a. 8
P. I
8b
P. III
8
8b
sub. meno
8b
P. II, IV
8b
sub. meno
C.cl.s.t. Tmb.s.t. C.cl.à.t.
(Die Braut)
(The Bride) Tempo I
84
9
= 80
= 120
S. O mein Gold en
lan tres
ger ses
Zopf, bright,
o O
mein my
schön tres
er ses
Zopf... fair.
M.s. o rib
ben bon
drein! blue.
s.
o rib
ben bon
drein! blue.
Grä me Weep not,
dich O
nicht, dear
mein one,
a.
o rib
ben bon
drein! blue.
Grä me Weep not,
dich O
nicht, dear
mein one,
8
P. I, III
8
m.d.
P. II, IV
Partie de Triang.
Xyl. (baguette en bois)
Cym. secco
8
92
s.
gel Vö weep,
chen, not,
jamm Let
re no
nicht, mein grief af
Gold kehl flict thee,
chen, my
klag’ dear
nicht, one,
wei Weep
ne no
nicht, Na more, Nas
stass jusch ta sia,
ka, O
a.
gel Vö weep,
chen, not,
jamm Let
re no
nicht, mein grief af
Gold kehl flict thee,
chen, my
klag’ dear
nicht, one,
wei Weep
ne no
nicht, Na more, Nas
stass jusch ta sia,
ka, O
P. I, III
P. II, IV
10
98
T. 8
um Of your
s.
klag’ weep
nicht, no
wei long
ne er,
nicht, my
klei heart,
ne my
Ti Ti
mo mo
fe feev
je
wna, na.
a.
klag’ weep
nicht, no
wei long
ne er,
nicht, my
klei heart,
ne my
Ti Ti
mo mo
fe feev
je
wna, na.
8
9
P. I, III
9
P. II, IV
9
T.d.b.
C.cl.à.t.
avec le pouce
dein fa
9
11
3+2
103
T. 8
ge ther
lieb think,
tes your
Et mo
tern ther’s
haus. care,
dein your
El mo
tern ther’s
haus. care,
B. Schau, dein Schwie ger Your fa ther in
s.
Und And
sei of
ne the
lieb li che Nach ti nigh tin gale in the
gall! trees.
a.
Und And
sei of
ne the
lieb li che Nach ti nigh tin gale in the
gall! trees.
8
8
poco meno
P. I, III
5
1
poco meno
P. II, IV
6
Timb.
109
S. dei too
Und She
ne Schwie ger will bid you
mut wel
ter come
ist And
gü ten
tig der
wie ly
dein will
deine Schwie ger will bid you
mut wel
ter come
ist And
gü ten
tig der
wie ly
dein will
B. va law,
P. I, III
P. II, IV
Timb.
ter he
wird will
zu wel
dir wie ein come you, Your
Va ter moth
er
sein. in
Und law
10
12
115
S. Müt love
ter you
lein, e’en as
gü though
tig wie dein you were their
Müt own
ter dear
lein. child.
Und No
bei ble
Fe Fe
tis Pam tis Pam
fil fi
je witsch lie vitch,
ist ja in your
Und No
bei ble
Fe Fe
tis Pam tis Pam
fil fi
je witsch lie vitch,
ist ja in your
Und No
bei ble
Fe Fe
tis Pam tis Pam
fil fi
je witsch lie vitch,
ist ja in your
Und No
bei ble
Fe Fe
tis Pam tis Pam
fil fi
je witsch lie vitch,
ist ja in your
M.s.
B. Müt love
s.
ter lein, you e’en as
gü tig though you
wie were
dein their
Müt own
ter dear
lein. child.
a.
P. I
sempre staccatissimo
P. II
sempre staccatissimo
P. III
P. IV
sempre staccatissimo
Timb.
11
13
123
S. auch ei ne gar den a
Nach ti gall, die night in gale is
mit ge sing ing,
walt’ In
gem the
Ju pa
bel schall, dich bei lace gar den all
ihm will day he
kom men whis pers
hei coo
ßen ing
wird. notes,
auch ei ne gar den a
Nach ti gall, die night in gale is
mit ge sing ing,
walt’ In
gem the
Ju pa
bel schall, dich bei lace gar den all
ihm will day he
kom men whis pers
hei coo
ßen ing
wird. notes,
auch ei ne gar den a
Nach ti gall, die night in gale is
mit ge sing ing,
walt’ In
gem the
Ju pa
bel schall, dich bei lace gar den all
ihm will day he
kom men whis pers
hei coo
ßen ing
wird. notes,
ihm will day he
kom men whis pers
hei coo
ßen ing
wird. notes,
M.s.
s.
unis.
a. auch ei ne gar den a
Nach ti gall, die night in gale is
mit ge sing ing,
walt’ In
gem the
Ju pa
bel schall, dich bei lace gar den all
P. I, II
P. III
P. IV
14
133
S. Sie At
schlägt night
den fall
gan hear
zen him
Tag, und sing ing
ihr a
Lied klingt loud his
durch song
die of
Nacht. love.
Nie ’Tis
mals for
wird you,
ihr Nas
Sie At
schlägt night
den fall
gan hear
zen him
Tag, und sing ing
ihr a
Lied klingt loud his
durch song
die of
Nacht. love.
Nie ’Tis
mals for
wird you,
ihr Nas
Sie At
schlägt night
den fall
gan hear
zen him
Tag, und sing ing
ihr a
Lied klingt loud his
durch song
die of
Nacht. love.
Nie ’Tis
mals for
wird you,
ihr Nas
Sie At
schlägt night
den fall
gan hear
zen him
Tag, und sing ing
ihr a
Lied klingt loud his
durch song
die of
Nacht. love.
Nie ’Tis
mals for
wird you,
ihr Nas
M.s.
s.
a.
P. I
P. II
P. III
P. IV
12
15
141
S. lei ta
ses
Flö sia,
ten his
uns sing
re ing,
Na my
stass jusch dear one,
ka, For
uns you
re a
Ti lone
mo his
fe sing
je ing,
wna for
aus your
sü
ßem de
lei ta
ses
Flö sia,
ten his
uns sing
re ing,
Na my
stass jusch dear one,
ka, For
uns you
re a
Ti lone
mo his
fe sing
je ing,
wna for
aus your
sü
ßem de
Die For
klei you
ne a
Ti lone
mo his
M.s.
T. 8
fe sing
je
wna. ing.
B.
s.
Uns ’Tis
re for
klei you,
ne Na
Na sta
stjin ka. si a.
lei ta
ses
Flö sia,
ten his
uns sing
re ing,
Na my
stass jusch dear one,
ka, For
uns you
re a
Ti lone
mo his
fe sing
je ing,
wna for
aus your
sü
ßem de
lei ta
ses
Flö sia,
ten his
uns sing
re ing,
Na my
stass jusch dear one,
ka, For
uns you
re a
Ti lone
mo his
fe sing
je ing,
wna for
aus your
sü
ßem de
a.
P. I
P. II
P. III
P. IV
8b
13
147
S. Schlum mer schrec ken; light, your hap pi
doch am ness,
Mor He
gen shall
wird not
sie dis
dich turb
mit you
er neu sleep
Kraft ing,
zur in
heil’ time
gen for
Mes Mass
se he’ll
wek wake
ken. you.
Schlum mer schrec ken; light, your hap pi
doch am ness,
Mor He
gen shall
wird not
sie dis
dich turb
mit you
er neu sleep
Kraft ing,
zur in
heil’ time
gen for
Mes Mass
se he’ll
wek wake
ken. you.
zur in
heil’ time
gen for
Mes Mass
se wek he’ll wake
ken. you.
zur in
heil’ time
gen for
Mes Mass
se wek he’ll wake
ken. you.
M.s.
T. 8
B. ...wird light
s.
aus your
ih hap
rem pi
sü ness,
ßen Schlaf das He shall
Mor not
gen lied dis turb
der you
Nach sleep
ti ing,
gall, in time,
Schlum mer schrec ken; light, your hap pi
doch am ness,
Mor He
gen shall
wird not
sie dis
dich turb
mit you
er neu sleep
Kraft ing,
zur in
heil’ time
gen for
Mes Mass
se he’ll
wek wake
ken. you.
Schlum mer schrec ken; light, your hap pi
doch am ness,
Mor He
gen shall
wird not
sie dis
dich turb
mit you
er neu sleep
Kraft ing,
zur in
heil’ time
gen for
Mes Mass
se he’ll
wek wake
ken. you.
a.
8
P. I
8
P. II
8
.
gliss
P. III
gliss.
P. IV
8b
* avec le pouce
T.d.b.
*
signifie frôler la membrane avec le pouce.
8
14
16
17
153
S. Hei! Come,
Hei! come
Sin let
ge, du us make
hold mer
der Sän ry from
ger one
im vil
Jas lage
min to
a
zwei no
ge! ther.
Hei! Come,
Hei! come,
Hei! Come,
Hei! come
Sin let
ge, du us make
hold mer
der Sän ry from
ger one
im vil
Jas lage
min to
a
zwei no
ge! ther.
Hei! Come,
Hei! come,
Hei! Come,
Hei! come
Sin let
ge, du us make
hold mer
der Sän ry from
ger one
im vil
Jas lage
min to
a
zwei no
ge! ther.
Hei! Come,
Hei! come,
Hei! Come,
Hei! come
...Im from
Jas one
min to
a
zwei no
ge! ther.
Hei! Come,
Hei! come,
Hei! Come,
Hei! come
Sin let
ge, du us make
hold mer
der Sän ry from
ger one
im vil
Jas lage
min to
a
zwei no
ge! ther.
Hei! Come,
Hei! come,
Hei! Come,
Hei! come
Sin let
ge, du us make
hold mer
der Sän ry from
ger one
im vil
Jas lage
min to
a
zwei no
ge! ther.
Hei! Come,
Hei! come,
Hei! Come,
Hei! come
Hei! Come,
Hei! come,
Hei! Come,
Hei! come
Hei! Come,
Hei! come,
M.s.
T. 8
B.
s.
a.
t. 8
b.
8
P. I
11
8
gliss.
P. II
8
gliss.
P. III
P. IV
8b
T.d.b. C.cl.s.t. Tmb.s.t. Tmb.à.t. [ordinairement]
Cym. Grosse-c.
8b
15
3+2
159
S. Sing, daß uns dear Na sta
re sia
Na shall
be
stjin hap
ka py,
ver gnügt und She must be
froh gay and
blei be! joy ful.
Hei! Come!
Sing, daß uns dear Na sta
re sia
Na shall
be
stjin hap
ka py,
ver gnügt und She must be
froh gay and
blei be! joy ful.
Hei! Come!
ver gnügt und She must be
froh gay and
blei be! joy ful.
Hei! Come!
M.s.
T. 8
sub.
B. Stets ver gnügt und She should al ways
s.
Sing, daß uns dear Na sta
re sia
Na shall
be
stjin hap
ka py,
ver gnügt und She must be
froh gay and
blei be! joy ful.
Hei! Come!
Sing, daß uns dear Na sta
re sia
Na shall
be
stjin hap
ka py,
ver gnügt und She must be
froh gay and
blei be! joy ful.
Hei! Come!
a.
t. 8
Hei! Come!
b. Hei! Come! 8
P. I
sub.
P. II
sub.
8
P. III
sub.
P. IV
sub.
8b
Timb. secco
T.d.b. C.cl.s.t.
froh be of
blei be! good cheer.
16
18 165
3+2
S. ...Un Un
ser sonst der neath
B. Un ser sonst ’Neath the lit
so tle
trä stones
ges a
Bäch lein... brook flows.
molto
b. Un ser sonst ’Neath the lit
so tle
8
P. I
P. II
sempre
P. III
P. IV
sempre
senza Ped.
Timb.
C.cl.s.t. Tmb.s.t.
Grosse-c.
so the
trä stones
ges a
Bäch lein, lit tle
plät brook
schert mun is flow
ter ing,
17
19
170
S. durch Un
die der
Wie neath
sen the
hin, stones,
durch Un
die der
Wie neath
sen the
hin, stones,
pl채t Loud
schert and
M.s.
B. ...Un mak
8
P. I
P. II
P. III
P. IV
Timb.
Triang.
C.cl.s.t. Tmb.s.t.
Grosse-c.
ser ing
sonst so loud and
tr채 hap
ges py
B채ch lein... mus ic.
8
mun gay
ter it
durch sounds
die like
Wie beat
sen, ing
18
175
S. bun drums,
ter Like
ist beat
das ing
Feld, drums,
grü gai
bun drums,
ter Like
ist beat
das ing
Feld, drums,
grü gai
ner ly
der loud
Wald, ly
schö mak
ner ing
der loud
Wald, ly
schö mak
ner ing
die mus
Welt, ic.
M.s. ner ly
die mus
Welt, ic.
8
P. I
P. II
8
3
P. III
P. IV
3
3
3
3
3
3
3
3
3
3
Triang.
20 178
unis.
3+2
s. Weil So
die Nas
lie ta
be sia
klei Ti
ne mo
Na feev
stja, na,
uns so
re in
Ti marr
mo iage
fe do
jew we
na heut’ give thee,
Hoch zeit hier hält. So we give thee.
...Heut’ thee,
Hoch zeit hier hält. So we give thee.
a.
8
P. I
9
6
P. II
6
8
P. III
9
6
P. IV
6
T.d.b.
19
(Die Braut und die Mutter) 21 (The Bride and the Mother) = 80
183
S. Kämmt, Plait,
flech tet plait my
mir mein lit tle
hoch ge come to
be us
blon des tres ses,
Haar, Plait
rich my
T. 8
Hei O
lige Ma
Mut ry
ter thou
Got Vir
tes, gin,
ne and
deit, aid
hil freich al us, come to
le our
3
P. I
3
etc. sim.
P. II
una corda
3
P. III
3
P. IV 8b
una corda = m.dr.,
= m.g.
C.cl.s.t. sempre
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Tmb.s.t. 2 bag. molles
Cym. sempre
22
190
S. es and
tet hair
so bind
wie es it with
Sit te rib bon
ist red,
Brauch. plaits
und In
Fest ge bind it
T. 8
zeit, aid.
uns
hilf Ah,
auch,
wenn aid
wir jetzt Na stjas us, Plait her
Haar hair,
rich ten,
wie’s von je aid us as
te her Sit we wed
ist und Hoch zeits her, Na sta sia
P. I
P. II
P. III
P. IV
8b
C.cl.s.t. 3
Tmb.s.t.
Cym.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
20
23
197
S. floch tight
ten ly,
soll O
es plait
sein, my
und hair
schlin and
get bind
ein it
T. 8
brauch. fair.
Wie’s Ah,
von aid
je us,
her un
Sit plait
te her
ist hair,
und aid
Wie’s Ah,
von aid
je us,
her un
Sit plait
te her
ist hair,
und aid
B.
P. I
P. II
P. III
P. IV
8b
tre corde
C.cl.s.t. 3
Tmb.s.t.
Cym.
3
3
3
3
3
3
3
3
3
3
3
3
3
21
24 =
204
(80)
S. ro with
tes a
Band hin rib bon
ein! red.
Hoch us
as
zeits we
brauch. wed
her.
Hoch us
as
zeits we
brauch. wed
her.
T. 8
B.
(Die Freundinnen) (The Bridesmaids) mezza voce
s. Wir käm men und sträh len I twine her tres ses, I
Na stjin kas Flech ten, plait her fair tres ses,
wir I
flech ten und le gen das bind the fair hair of my
a. mezza voce
P. I
8b
8b
sub. meno
P. II
sub. meno
tre corde
sub. meno
P. III
8b
8b
sub. meno
P. IV
C.cl.s.t. 3
3
3
3
Tmb.s.t.
C.cl.Ă .t. poco
Cym.
sub. meno
sempre
sub. meno
22
209
25
3+2
2
2
2
S. O Blue,
du a
ro rib
ses bon
Band, blue,
du and
s. Haar Ti
uns mo
rer Freun din. fe ev na,
Wir I
käm men und sträh twine her tres ses,
len a
Na gain
stjin I
kas Flech ten, will twine them,
wir With
flech ten rib bons
und le gen en twine it,
das my
a.
P. I
8b
P. III
8b
sub. meno
sub. meno
8b
P. II, IV
8b
sub. meno
sub. meno
C.cl.s.t. Tmb.s.t. C.cl.à.t.
3+2 2
213
2
2
2
2
S. nes bon
schö rib
Band, red,
du bright
schö red,
nes as
ro my
sen own
ro lips
tes are piena voce
s. Haar Ti
uns mo
rer Freun din; fe ev na,
Na Once
stjin more
kas I
blon comb
des Haar, it and
fest bind
ge it
floch with
ten rib
soll bon,
es A
sein. Schlin rib bon piena voce
a.
8
P. I
8b
8b 8
P. III
sub. meno
8b
P. II, IV
C.cl.s.t. Tmb.s.t. C.cl.à.t.
8b
sub. meno
get en
23
26 217
3+2
2
2
S. Und A
Band! red.
du rib
mein bon
mezza voce
s. ro twin’d
tes a
Band hin bout her
ein! hair,
Wir A
käm men gain I
und sträh will comb
len Na
Na ta
stjin sia’s
kas fair
Flech ten, tres ses,
wir I
flech ten comb them
und and
le gen twine them,
das my
a. mezza voce
8
P. I
8b
8
P. III
8b
sub. meno
sub. meno
8b
P. II, IV
8b
sub. meno
sub. meno
C.cl.s.t. Tmb.s.t. C.cl.à.t.
221
2
2
2
S. wie as
Band, blue,
Veil blue
chen as
so my
blau. eyes.
s. Haar Ti
uns mo
rer Freun din, fe ev na,
Na I
stass jusch twine her
kas Haar, fair hair,
Ti with
mo a
fe rib
je bon
wnas Haar, I bind
uns it,
rer A
Na rib
stjin bon
kas Blond Haar. of bright red.
a.
P. I
8b
8b
P. III
sub. meno
sub. meno
8b
8b
P. II, IV
8b
sub. meno
sub. meno
8b
sub. meno
sub. meno
C.cl.s.t. Tmb.s.t. C.cl.à.t.
attacca subito
24
27 225
8
t.
ZWEITE BILD
DEUXIÈME TABLEAU
BEIM BRÄUTIGAM
CHEZ LE MARIÉ
= 120
Jung frau Vir gin
3+2 be Ma
ne ry,
deit, come,
die come
du and
hilf reich aid our
al wed
le ding,
zeit Come,
und barm her Ma ry, hear
zig our
bist, pray’r,
hilf aid
uns us
jet as
zo we
und barm her Ma ry, hear
zig our
bist, pray’r,
hilf aid
uns us
jet as
zo we
8
3+2 Jung frau Vir gin
b.
be Ma
ne ry,
deit, come,
die come
du and
hilf reich aid our
al wed
le ding,
zeit Come,
P. I, III
P. II, IV
C.cl.à.t.
229
28
2+3+2
3+2
=
T. 8
...Ihm das Haar The fair curls
zu of
rich ten, Fe tis.
Und The
al ter Hoch zeits brauch. fair locks of Fe tis,
B.
=
a.
= ...Ihm das Haar The fair curls
zu of
rich ten, Fe tis.
Und The
al ter Hoch zeits brauch. fair locks of Fe tis,
sub.
sub.
= 8
t.
auch, comb
ihm the
das Haar fair curls
zu of
rich ten, Fe tis.
Und The
al ter Hoch zeits brauch. fair locks of Fe tis,
sub.
Die du hilf reich al le While we comb and brush the sub.
= 8
sub.
sub.
= b.
auch, comb
ihm the
das Haar fair curls
zu of
rich ten, Fe tis.
Und The sub.
al ter Hoch zeits brauch. fair locks of Fe tis,
Die du hilf reich al le While we comb and brush the sub.
= = P. I
= = P. III
= = P. II, IV
= C.cl.à.t.
=
25
29
3+2
233
=
T. 8
Wo Where
mit with
glät shall
ten, we
wo brush
mit le and comb
gen and
wir oil
des the
Fe fair
=
B.
Wo Where
= 8
t.
zeit, curls
sei in of Pam
son der heit fi lie vitch.
hier bei hilfs be reit! Vir gin Ma ry, come.
zeit, curls
sei in of Pam
son der heit fi lie vitch.
hier bei hilfs be reit! Vir gin Ma ry, come.
= 8
= b.
=
= P. I, III
=
= P. II, IV
=
T.d.b.
=
C.cl.s.t.
= baguettes en bois
Tmb.s.t.
=
C.cl.Ă .t.
= baguette en bois
Cym.
tis locks
=
mit with
26
30
238
=
T. 8
Lok of
ken Fe
haar? tis?
=
B. glät shall
ten, we
wo brush
mit and
le comb
gen and
wir oil
Pam the
fil fair
jitschs locks
Lok of
ken Fe
haar? tis?
= 8
Die du hilf reich al Come, come to aid us,
t.
le O
= 8
= Die du hilf reich al Come, come to aid us,
b.
le O
=
= P. I, III
sub.
=
8
= sub.
P. II, IV
=
secco
Timb.
=
T.d.b.
=
C.cl.s.t.
=
Tmb.s.t.
=
C.cl.à.t.
sub.
=
étouffez
Cym.
=
27
243
31
3+2
=
B.
Kommt wir Quick ly
ge let
ven for
ça Fe
hen, us
kommt go
wir lau to the town
fen and
, = 8
zeit, come,
t.
sei in Vir gin
sond er heit Ma ry, O
hier bei hilfs be reit, come, Ma ry, aid us,
Jung frau be ne deit! un curl his fair locks.
,
= 8
, = zeit, come,
b.
sei in Vir gin
sond er heit Ma ry, O
hier bei hilfs be reit, come, Ma ry, aid us,
Jung frau be ne deit! un curl his fair locks.
,
= = P. I, III
=
= P. II, IV
=
C.cl.à.t.
=
Cym.
= 32
248
T. 8
Kommt Let
wir us
lau fen, has tenthere
kommt and
wir let us
kau buy
fen pure
fei o
nes live
Pro oil
ler tis’
öl, locks.
und le o live oil
gen and
B. auf buy
un some
sern pure
Krä o
mer live
markt! oil,
Kommt Let
wir us
P. I, III
8
P. II, IV
Timb.
T.d.b. C.cl.s.t. Tmb.s.t. C.cl.à.t. Tmb.à.t.
kau buy
fen some
Öl pure
28
253
T. 8
und Let
wir us
glät buy
ten, some
und pure
wir le o live oil
gen and
da curl
mit his
Pam locks,
fil his
jitschs fair
Haar! locks.
B. da curl,
mit and
Pam curl
fil his
jitschs fair
Haar! locks.
8
ancora più
P. I, III
8
P. II, IV
Timb.
T.d.b. C.cl.s.t. Tmb.s.t. C.cl.à.t. Tmb.à.t. Cym.
33 258
3+2
34
3+2
=
T. 8
Jung Come,
= 8
t.
Jung frau be ne deit, Come, Vir gin Ma ry,
die du hilf reich al le zeit, sei in son der heit Come to aid our wed ding, aid us now as we un
hier bei hilfs be reit! curl the bride grooms’s locks.
= 8
= b.
Jung frau be ne deit, Come, Vir gin Ma ry,
die du hilf reich al le zeit, sei in son der heit Come to aid our wed ding, aid us now as we un
hier bei hilfs be reit! curl the bride grooms’s locks.
= 8
= P. I, III
sub.
= = P. II, IV
sub.
= trem.
Xyl.
=
T.d.b.
= =
C.cl.s.t. Tmb.s.t. C.cl.à.t.
= =
frau hilf reich al O come and aid
le us
35
29
Meno mosso
(Der Vater)
= 104
263
(Le père)
M.s. Je Last
den, night
je Fe
den tis
A sat,
bend sat
saß un with in
ser his
Söhn chen house all
zu the
T. 8
deit, to
hilf un
reich curl
al his
le fair
zeit! locks.
8
sub.
P. I
sempre legatiss.
8
P. III
P. II, IV
Xyl.
T.d.b. C.cl.s.t. Tmb.s.t. C.cl.à.t.
36 (Die Eltern abwechselnd) (Les parents tour à tour)
269
M.s. Hau while.
se,
Wem, Now
ihr to
Lok whom,
ken wer det ihr jetzt an ver to whom will these curls be
T. 8
ser Pam Pam fi
fil lie
jitsch vitch
mit sei nem Lok ken his fair locks sat brush
haar, ing.
legatiss.
P. I
arraché
arraché
arraché
arraché
arraché
P. II
8b
legatiss.
P. III
sub.
legatiss.
arraché
P. IV
Timb. sempre poco
C.cl.s.t. Tmb.s.t.
sempre poco
Tmb.à.t. sempre poco
Grosse-c.
sempre poco
traut? long?
30
37
278
M.s. wohl now,
Wem Now,
ihr to
Lok whom,
wer det ihr jetzt whom will these
ken, to
an ver curls be
traut? long?
Wem, ihr Lok Do they now,
ken, now,
wer det ihr be long to
B. Ei Now
nem they
wer det ihr jetzt ro sy lipp’d
schö nen Mäd chen will be long to a
an ver traut. mai den.
P. I, III
arraché
arraché
arraché
arraché
arraché
arraché arraché
arraché
P. II
8b
arraché
arraché
P. IV
Timb. C.cl.s.t. Tmb.s.t. Tmb.à.t.
Grosse-c. (sempre poco
)
285
S. Lieb kos’ und Do you pour
hät schle oil on
M.s. an ver her, to
traut? Klei the tall
ne one
Na Now,
stass Nas
jusch ka, lieb ta sia, pour
ko oil
se on
sie! them.
B. Der Na To Nas
stass ta
ja sia,
Ti to
mo Ti
fe mo
je wna. feev na.
[legatiss.]
P. I, III
[legatiss.]
arraché
arraché
arraché
arraché
arraché
arraché
arraché
arraché
arraché
P. II
8b
arraché
P. IV
Timb. C.cl.s.t. Tmb.s.t. Tmb.à.t.
Grosse-c.
sie! them;
31
38
292
S. Klei You,
ne Ti
Na mo
stass fe
ja, ev
lieb na,
kos’ und you pour
hät schle oil on
sie! them.
Sei O
ne the
blon den fair, the
Sei O
ne the
blon den fair, the
M.s. Lieb kos’ und The fair and
hät schle cur ly
sie! locks.
T. 8
Sei Oil
ne the
Haa fair,
re the
wur den mit Ka cur ly locks of
mil len Pam fi
tee li
ge pflegt. e vitch,
B.
P. I, III
arraché
arraché
arraché
arraché
arraché
arraché
arraché
arraché
arraché
P. II
8b
arraché
P. IV
Timb. (sempre poco
)
(sempre poco
)
(sempre poco
)
(sempre poco
)
C.cl.s.t. Tmb.s.t.
Tmb.à.t.
Grosse-c.
32
39
300
S. Lok cur
ken ly
ha ben sich locks of
lieb lich Fe tis,
ge the
rin fair
gelt, and
sich ge cur ly
kräu locks
selt of
und sich ge Pam fi li
M.s. Müt
ter
chen hat sie Thy mo ther
ein ge curl’d them
dreht oft,
und ge say ing
wik
kelt, then
B. Lok cur
ken ly
ha ben sich locks of
lieb lich Fe tis,
ge the
rin fair
gelt, and
sich ge cur ly
kräu locks
selt of
und sich ge Pam fi li
[legatiss.]
P. I, III
[legatiss.]
arraché
arraché
arraché
arraché
arraché
arraché
arraché
arraché
arraché
P. II
8b
arraché
P. IV
Timb.
C.cl.s.t. Tmb.s.t.
Tmb.à.t.
Grosse-c. (sempre poco
)
33
40 Poco più mosso
307
= 112
=
S. gelt. vitch.
krin e
=
M.s. Und da bei while she was
sag curl
te ing
sie: them.
=
T. 8
Und da bei while she was
sag curl
te ing
sie: them.
Wie My
du jetzt lit tle
bist, child,
so my
=
B. krin e
gelt. vitch.
=
s. Mein Lit tle
herz son,
lie bes Sähn chen wie du be you white and ro sy
jetzt bist, so cheek’d, lit tle
bleib. son,
=
a.
P. I, III
arraché
arraché
arraché
arraché
P. II
8b
P. IV
Timb.
, Xyl.
C.cl.s.t. Tmb.s.t.
Tmb.à.t.
Grosse-c.
34 315
T. 8
bleib! son.
Wie And
du a
im no
mer ther
warst, one will
so bleib, love you.
B. bleib And
ge a
sund no
an ther
Seel’ curl
und your
s. Blei And
be a
stets no
ge ther
sund an one will
Seel’ curl
und your
Leib! locks.
a.
P. I
meno
P. II
P. III
meno
P. IV
Xyl.
41 Tempo I 321
= 120
!:tyobys@ (Les femmes)
S. hat denn ing locks
Wer Shin
die schön sten and cur ly,
B. Leib! locks. 8 marcatissimo
P. I
non
8
P. II
staccato leggiero 8
8
P. III
marcatissimo
P. IV
staccato leggiero
T.d.b. poco
Cym. Grosse-c.
simile
(ordinairement)
blon den whose
Lok are
ken? they?
Der Shin
Fe ing
tis locks
hat ganz and cur
ge ly,
die wiß whose
schön are
sten, they?
35
325
S. der Pam O Pam
fil fi
jitsch hat die al li e vitch, love
ler ly
al locks
ler schön cur ly,
sten, ja the locks
die of
schön sten Fe tis,
hat ge well
wiß oil’d
der and
blon lov
de ing
Fe ly
8
P. I
8
P. II
8
8
P. III
P. IV
T.d.b. Triang.
Cym. Grosse-c.
329
42
S. tis. curl’d.
M.s. Klug, A cle
wei ver
pru
se, dent
rat up
ten their
B. Eh Glo
re ry
sei to
8
P. I
8
P. II
8
8
P. III
P. IV
Solo
Timb. (non
T.d.b.
Cym. Grosse-c.
ma marcato e secco)
den the
El fa
tern, ther,
Va glo
ter
und ry
Mut to
ter, the
weil mo
das ther,
Kind Well
so have
gut ge they brought
36
43
332
S. Nie Let
mals fallt my fair
ihr mehr curls be
ihr in
blon or
sam, dient,
ja, o
den
Lok der,
ken u
in pon
sein milch wei my white
Ă&#x;es face,
An in
voll and
ist wise
der one
Sohn o
ge
ra be
ten. dient.
Nie And
mals you
fallt Na
ihr sta
mehr in sein sia now
or
ge der
sicht, And
denn grow
M.s. auf’s Wort wise one
ge o
hor be
wun der be dient
T. 8
Ge do
sicht, you
denn grow
B. ist. child.
P. I
Mei Ah,
8
P. II
P. III
P. IV
Timb.
Xyl.
T.d.b. simile
C.cl.s.t. Tmb.s.t. sempre
Cym. Grosse-c.
37
336
S. wer to
jetzt used
det my
ihr mit young man’s
Öl ways,
ge my
glät ha
tet, bits,
wie dan
es dy
the
dert, ci
daß ty,
man dan
so dy
ge my
glät ha
tet, bits,
wie dan
es dy
the
dert, ci
daß ty,
man dan
so dy
So For
wie dan
So For
daß ty,
al tem young ha
Hoch bits
zeits are
brauch u su
ent al
da u
su
von al
brauch u su
ent al
da u
su
von al
M.s. ...wer Ah,
den in
so Mos
be cow,
wun in
gar young
in ha
Mos bits
kau are
T. 8
jetzt used
wer to
det my
Lok
ken
ihr mit young man’s
Öl ways,
al tem young ha
Hoch bits
zeits are
B. ne
wer Ah,
den in
so Mos
be cow,
wun in
gar young
in ha
Mos bits
kau are
es dy
al tem young ha
Hoch bits
zeits are
bruach u su
ent al
wie dan
es dy
al tem young ha
Hoch bits
zeits are
bruach u su
ent al
man dan
so dy
da u
von al
s.
a.
t. 8
...wer Ah,
b.
P. I
P. II
8
P. III
P. IV
Timb.
Xyl. più
T.d.b. C.cl.s.t. Tmb.s.t.
Cym. Grosse-c.
den in
so Mos
be cow,
wun in
the
dert, ci
gar young
in ha
Mos bits
kau are
su
38
340
44
3+2
S. spricht. there.
M.s. sprint. there.
T. 8
spricht. there.
...Das The
sprint. there.
...Das The
B.
s. spricht. there.
spricht. there.
a.
sub.
Jung frau be Vir gin Ma
ne ry,
deit, come,
die du hilf reich al le come and aid our wed ding,
zeit und barm her zig Aid us to brush the
bist, locks,
hilf uns aid us
jet to
zo auch, das un curl the
ne ry,
deit, come,
die du hilf reich al le come and aid our wed ding,
zeit und barm her zig Aid us to brush the
bist, locks,
hilf uns aid us
jet to
zo auch, das un curl the
ne ry,
deit, come,
die du hilf reich al le come and aid our wed ding,
zeit und barm her zig Aid us to brush the
bist, locks,
hilf uns aid us
jet to
zo auch, das un curl the
sub.
sub.
8
spricht. there.
t.
Jung frau be Vir gin Ma sub.
8
sub.
b.
sprint. there.
Jung frau be Vir gin Ma sub.
8
P. I
sub.
P. II
sub.
8
P. III
sub.
P. IV
sub.
Timb.
Xyl. T.d.b. C.cl.s.t. Tmb.s.t. C.cl.Ă .t. Tmb.Ă .t. Cym. Grosse-c.
sub.
39
344
3+2
45
3+2
3+3
=
T. 8
Haar ihm zu rich ten, fair locks of Fe tis,
Und The
Brauch ist zur Hoch zeit! fair locks of Fe tis.
Haar ihm zu rich ten, fair locks of Fe tis,
Und The
Brauch ist zur Hoch zeit! fair locks of Fe tis.
=
B.
sub.
sub.
= Haar ihm zu rich ten, fair locks of Fe tis,
a.
wie es Aid us
Sit te hier to un curl
und the
Brauch ist zur Hoch zeit! fair locks of Fe tis.
sub.
Die du hilf reich al le Vir gin Ma ry, come and
zeit, aid
sei us
in son der heit to un curl the
zeit, aid
sei us
in son der heit to un curl the
zeit, aid
sei us
in son der heit to un curl the
sub.
=
sub.
sub.
= 8
Haar ihm zu rich ten, fair locks of Fe tis,
t.
wie es Aid us
Sit te hier to un curl
und the
Brauch ist zur Hoch zeit! fair locks of Fe tis.
sub.
Die du hilf reich al le Vir gin Ma ry, come and sub.
= 8
sub.
sub.
=
b. Haar ihm zu rich ten, fair locks of Fe tis,
wie es Aid us
Sit te hier to un curl
und the
Brauch ist zur Hoch zeit! fair locks of Fe tis.
Die du hilf reich al le Vir gin Ma ry, come and
= P. I
sub.
sub.
=
= P. III
sub.
sub.
=
= P. II, IV
sub.
sub.
=
C.cl.Ă .t.
=
Tmb.Ă .t.
=
40
349
3+2
46 2+2+3
, 3+2
S. Heil’ Ho
ge Him mels kö ly Mo ther, come
ni to
gin, us,
die Thy
du self
Got come,
tes we
Mut ter bist, pray Thee.
, M.s. Heil’ Ho
ge Him mels kö ly Mo ther, come
ni to
gin, us,
die Thy
du self
Got come,
tes we
Mut ter bist, pray Thee.
, T. 8
Heil’ Ho
ge Him mels kö ly Mo ther, come
ni to
gin, us,
die Thy
du self
Got come,
tes we
Mut ter bist, pray Thee.
, s. Heil’ Ho
ge Him mels kö ly Mo ther, come
ni to
gin, us,
die Thy
du self
Got come,
tes we
Mut ter bist, pray Thee.
, hier bei hilfs be reit! fair locks of Fe tis.
a.
Heil’ Ho
ge Him mels kö ly Mo ther, come
ni to
gin, us,
die Thy
du self
Got come,
tes we
Mut ter bist, pray Thee.
, ,
8
hier bei hilfs be reit! fair locks of Fe tis.
t.
Heil’ Ho
ge Him mels kö ly Mo ther, come
ni to
gin, us,
die Thy
du self
Got come,
tes we
Mut ter bist, pray Thee.
,
8
b.
hier bei hilfs be reit! fair locks of Fe tis.
Kom Come
8
sub.
P. I
più
P. II
più
8
P. III
più
P. IV
più
Timb. C.cl.s.t. Tmb.s.t. C.cl.à.t. Tmb.à.t.
Grosse-c.
me to
zur the
Hoch zeit, wed ding,
41
47 3+2
353
, (3+2)
S. Und And
ihr heil’ gen with Thee, all the
zwölf ho ly
A ap
pos tel, os tles.
, M.s. Und And
ihr heil’ gen with Thee, all the
zwölf ho ly
A ap
pos tel, os tles.
, T. 8
Und And
ihr heil’ gen with Thee, all the
zwölf ho ly
A ap
pos tel, os tles.
, s. Und And
ihr heil’ gen with Thee, all the
zwölf ho ly
A ap
pos tel, os tles.
,
a.
, t. 8
b.
Und And
komm to
zur the
Hoch wed
ihr heil’ gen with Thee, all the
zwölf ho ly
zeit! ding.
A ap
pos tel, os tles.
Kom Come
8
sub.
P. I
più
P. II
più
8
P. III
più
P. IV
più
Timb. C.cl.s.t. Tmb.s.t. Tmb.à.t.
Grosse-c.
met to
zur the
Hoch zeit, wed ding,
kommt zur to the
Hoch wed
zeit! ding.
42
48 358
49 3+2
,
3+2
S. Che And
ru with
bim Thee
und come
Se all
ra the
phim, an gel.
Che And
ru with
bim Thee
und come
Se all
ra the
phim, an gel.
Che And
ru with
bim Thee
und come
Se all
ra the
phim, an gel.
Che And
ru with
bim Thee
und come
Se all
ra the
phim, an gel.
Che And
ru with
bim Thee
und come
Se all
ra the
phim, an gel.
Che And
ru with
bim Thee
und come
Se all
ra the
phim, an gel.
,
Gott woll’ Now may
uns seg nen, God bless us,
Gott woll’ Now may
uns seg nen, God bless us,
Gott woll’ Now may
uns seg nen, God bless us,
Gott woll’ Now may
uns seg nen, God bless us,
Gott woll’ Now may
uns seg nen, God bless us,
Gott woll’ Now may
uns seg nen, God bless us,
M.s.
,
T. 8
,
s.
a.
, , ,
t. 8
Kom Come
b.
met to
zur the
Hoch wed
zeit, ding,
Kommt zur to the
Hoch wed
zeit! ding.
8
sub.
P. I
più
8
P. II
più
8
P. III
più
P. IV
più
Timb. Xyl.
T.d.b. C.cl.s.t. Tmb.s.t. Tmb.à.t.
Cym. Grosse-c.
bois
43
3+2
363
=
=
S. Gott woll’ God bless
uns us
seg nen! all and
Gott His
Va Son,
ter,
kom Come
me to
zur the
Hoch zeit, wed ding,
komm to
zur the
Hoch wed
zeit, ding,
komm to
zur the
Hoch zeit! wed ding.
komm to
zur the
Hoch wed
zeit, ding,
komm to
zur the
Hoch zeit! wed ding.
komm to
zur the
Hoch wed
zeit, ding,
komm to
zur the
Hoch zeit! wed ding.
komm to
zur the
Hoch wed
zeit, ding,
komm to
zur the
Hoch zeit! wed ding.
komm to
zur the
Hoch wed
zeit, ding,
komm to
zur the
Hoch zeit! wed ding.
komm to
zur the
Hoch wed
zeit, ding,
komm to
zur the
Hoch zeit! wed ding.
=
M.s. Gott woll’ God bless
uns us
seg nen! all and
Gott His
Va Son,
ter,
kom Come
me to
zur the
Hoch zeit, wed ding,
=
T. 8
Gott woll’ God bless
uns us
seg nen! all and
Gott His
Va Son,
ter,
kom Come
me to
zur the
Hoch zeit, wed ding,
Gott woll’ God bless
uns us
seg nen! all and
Gott His
Va Son,
ter,
kom Come
me to
zur the
Hoch zeit, wed ding,
=
s.
= Gott woll’ God bless
a.
uns us
seg nen! all and
Gott His
Va Son,
ter,
kom Come
me to
zur the
Hoch zeit, wed ding,
= = 8
Gott woll’ God bless
t.
uns us
seg nen! all and
Gott His
Va Son,
ter,
kom Come
me to
zur the
Hoch zeit, wed ding,
= 8
= P. I
= 8
= P. II
= 8
= P. III
= 8
= P. IV
= =
Xyl. più
T.d.b.
=
C.cl.s.t.
=
Tmb.s.t.
=
Tmb.à.t.
Cym. Grosse-c.
più
più
= =
44
(Der Bräutigam)
50 Le marié =
368
= 80
ma sonore
Meno mosso
=
B. Va ter und Bless me, my
Mut ter, fa ther,
o my
Mut ter, fa ther,
o my
seg mo
net ther,
jetzt bless
eu ren Lieb ling, me, Your child who
daß er proud ly
sieg goes
reich die Burg be zwingt a gainst the strong
und im Stur me die Braut er wall of stone to break it
sieg goes
reich die Burg be zwingt a gainst the strong
und im Stur me die Braut er wall of stone to break it
ma sonore
une basse profonde du chœur
Va ter und Bless me, my
seg mo
net jetzt ther, bless
eu ren Lieb ling, daß me, Your child who proud
er ly
51
52 Più mosso
= 375
=
Tempo I
=
Più mosso
S. Daß sein See him,
E Fe
he stand tis, the
blüht no ble
und Fe
ge tis
deiht. there,
Al So
le the
Ker can
zen
Daß sein See him,
E Fe
he stand tis, the
blüht no ble
und Fe
ge tis
deiht. there,
Al So
le the
Ker can
zen
Al So
le the
Ker can
zen
dles
soll’n are
dles
soll’n are
dles
soll’n are
M.s.
B. ringt, down,
jetzt und al There to win
le his
künft’ ge bride, his la
Zeit. dy.
s. Daß sein See him,
E Fe
he stand tis, the
blüht no ble
und Fe
ge tis
deiht. there,
a.
basse profonde ringt, down,
P. I
P. II
P. III
P. IV
Partie de T.d.b.
Timb. baguettes de Triang.
Triang. Cym.
jetzt und al There to win
le his
künft’ ge bride, his la
Zeit. dy.
45
Tempo I
Più mosso
=
382
,
=
=
S. bren ligh
nen, ted.
Um sich To in
nie mals mehr zu voke our La dy’s
tren bless
nen. ing.
, M.s. bren ligh
nen, ted.
Um sich To in
nie mals mehr zu voke our La dy’s
tren bless
nen. ing.
, B. Wenn das Paar im We go now
Dom to
sich neigt und dem Kreu ze the church and we kiss there
die Ehr’ be the sil ver
zeigt. cross.
, s. bren ligh
nen, ted.
Um sich To in
nie mals mehr zu voke our La dy’s
tren bless
nen. ing.
,
a.
,
basse profonde Wenn das Paar im We go now
P. I
P. II
P. III
P. IV
Timb.
Triang. Cym.
Dom to
sich neigt und dem Kreu ze the church and we kiss there
die Ehr’ be the sil ver
zeigt. cross.
46
53 (Einer der Freunde) (The first friend)
389
=
S. Bit tet Gott Give you bless
um ing,
Bit tet Gott Give you bless
um ing,
M.s.
B. Ihr All
da, ihr you that
Lung rer und come to see
Gaf the
fer, bride
ihr neu gier ’ges pas ing by, did
Lum pen pack mit nichts im stay to see her ta’en a
Sack, way.
s. Bit tet Gott Give you bless
um ing,
Bit tet Gott Give you bless
um ing,
a.
8
P. I
tremolo
5
très rythmé et bien martelé
2
P. II 2 5 8
P. III
tremolo
P. IV
sub. meno
Timb. sempre
Xyl. trillo
Triang. Cym.
Tmb.s.t.
Tmb.à.t.
Cym. Grosse-c.
(roul.)
(roul.)
47
54
394
S. Se gen und Glück für bless the prince u pon
das his
bräut li che Paar! way, The bride groom
Se gen und Glück für bless the prince u pon
das his
bräut li che Paar! way, The bride groom
M.s.
B. seg net Who is
sie gone
auf dem a way
Hoch zeits to meet his
weg, bride,
s. Se gen und Glück für bless the prince u pon
das his
bräut li che Paar! way, The bride groom
a.
8
P. I
P. II
8
P. III
P. IV
Timb.
Xyl.
Triang. Cym.
Tmb.s.t.
Tmb.à.t.
Cym. Grosse-c.
,
To
wenn wed
sie zur her whose
48
(Alle) 55 (All)
399
3+2
2+3
S. Und On
un his
ter der brow to
Und On
un his
ter der brow to
Braut kro set a
ne gol
ste hen. den crown.
Hei! Ah!
ne gol
ste hen. den crown.
Hei! Ah!
M.s. Braut set
kro a
T. 8
Hei! Ah!
B. Hei! Ah!
s. Und On
un his
ter der brow to
Braut kro set a
ne gol
ste hen. den crown.
Hei! Ah!
a.
8
t.
Hei! Ah!
Wie ein See there
Schwa nen fe der chen fällt zur Er falls a white fea ther, now the flow’r
de, fades,
Hei! Ah!
Wie ein See there
Schwa nen fe der chen fällt zur Er falls a white fea ther, now the flow’r
de, fades,
8
b.
8
P. I
P. II
8
P. III
P. IV
Timb. secco
Xyl. Triang. Cym. C.cl.s.t. Tmb.s.t. Tmb.à.t.
Cym. Grosse-c.
reprenez le T.d.b.
49
404
2+3
3+2
56 2+3
2+3
S. fällt Fades
zur the
Er flow’r
de, too,
sich fea
her ther
ab fall
neigt, eth,
fällt Fades
zur the
Er flow’r
de, too,
sich fea
her ther
ab fall
neigt, eth,
fällt Fades
zur the
Er flow’r
de, too,
sich fea
her ther
ab fall
neigt, eth,
fällt Fades
zur the
Er flow’r
de, too,
sich fea
her ther
ab fall
neigt, eth,
fällt Fades
zur the
Er flow’r
de, too,
sich fea
her ther
ab fall
neigt, eth,
fällt Fades
zur the
Er flow’r
de, too,
wie ein Blü ten zweig Now fades the flow’r too,
sich her fea ther
ab fall
neigt, eth,
sich fea
her ther
ab fall
neigt, eth,
fällt So
Fe did
tis vorm Fe tis
fällt Fades
zur the
Er flow’r
de, too,
wie ein Blü ten zweig Now fades the flow’r too,
sich her fea ther
ab fall
neigt, eth,
sich fea
her ther
ab fall
neigt, eth,
fällt So
Fe did
tis vorm Fe tis
M.s.
T. 8
B.
s.
a.
8
t.
8
b.
P. I
sub.
sub.
P. III
8
8
P. II, IV
Timb. .
.
gliss
gliss
Xyl.
T.d.b. C.cl.s.t. Tmb.s.t. Tmb.à.t.
Cym. Grosse-c.
(bois)
,
50
57 409
3+2
3+2
3+2
S. Fällt Pam So did
fi Fe
lje tis
witsch vor kneel be
der fore
Mut his
ter Mo
auf’s ther
Knie nie gra cious
der ly,
Fällt Pam So did
fi Fe
lje tis
witsch vor kneel be
der fore
Mut his
ter Mo
auf’s ther
Knie nie gra cious
der ly,
Fällt Pam So did
fi Fe
lje tis
witsch vor kneel be
der fore
Mut his
ter Mo
auf’s ther
Knie nie gra cious
der ly,
Fällt Pam So did
fi Fe
lje tis
witsch vor kneel be
der fore
Mut his
ter Mo
auf’s ther
Knie nie gra cious
der ly,
M.s.
s.
a.
8
t.
Vä ter chen auf kneel down be fore
die his
Knie own
nie fa
der, ther,
und Ask
bit ing
tet their
in bless
nig ing
lich, u
lie pon
be the
El son
tern, who
Vä ter chen auf kneel down be fore
die his
Knie own
nie fa
der, ther,
und Ask
bit ing
tet their
in bless
nig ing
lich, u
lie pon
be the
El son
tern, who
8
b.
P. I
P. III
8
P. II, IV
Timb.
51
414
3+2
=
S. zu saints
der go
fro with
hen him,
Hoch guard
zeits fahrt, ing him,
zu saints
der go
fro with
hen him,
Hoch guard
zeits fahrt, ing him,
=
M.s.
= zu saints
s.
der go
fro with
hen him,
Hoch guard
zeits fahrt, ing him,
= = zu saints
a.
der go
fro with
hen him,
Hoch guard
zeits fahrt, ing him,
= = 8
bit goes
t.
te to
seg be mar
net ried,
mich zur Fahrt, And may the
zu saints
der go
fro with
hen him,
Hoch guard
zeits fahrt, ing him,
die, wenn die Dom glok May the saints go with
ke him
die, wenn die Dom glok May the saints go with
ke him
= 8
= b.
bit goes
te to
seg be mar
net ried,
mich zur Fahrt, And may the
zu saints
der go
fro with
hen him,
Hoch guard
zeits fahrt, ing him,
= 8
= P. I
sub.
= = P. II
= = sub.
P. III
= = P. IV
= sol muta in fa
=
Timb.
=
Xyl. gliss.
T.d.b.
=
C.cl.s.t.
=
Tmb.s.t. Tmb.Ă .t.
= =
Cym. Grosse-c.
= secco
52
58
419
S. uns zum Trau and keep him
al tar bringt. in their care.
Kos mas und Saint Da mien,
M.s.
T. 8
Stimmt Lord,
nun O
le al bless
ein, us all
ob ihr from old
alt est
seid, ob to the
jung o der klein, young est chil dren.
B. Stimmt O
nun Lord,
al bless
le us
ein, all.
s.
uns zum Trau and keep him
al tar bringt. in their care.
Kos mas und Saint Da mien,
a.
uns zum Trau and keep him
al tar bringt. in their care.
Kos mas und Saint Da mien,
uns zum Trau and keep him
al tar bringt. in their care.
uns zum Trau and keep him
al tar bringt. in their care.
8
t.
8
b.
8
P. I
8
P. II
sempre
8b 8
P. III
sempre
8b
P. IV
mi muta in mi rĂŠ muta in do
Timb.
Xyl. gliss.
trillo
T.d.b.
baguettes de Triang.
Triang. Cym. C.cl.s.t. Tmb.s.t. C.cl.Ă .t. Tmb.Ă .t. Cym. Grosse-c. (
secco)
53
424
S. Da bless
mian
be us
sin al
get! so.
Wen woll’n The old
wir est,
noch the
al young
les est,
be O
sin bless
gen? us.
Da bless
mian
be us
sin al
get! so.
Wen woll’n The old
wir est,
noch the
al young
les est,
be O
sin bless
gen? us.
noch the
al young
les est,
be O
sin bless
gen? us.
M.s.
T. 8
Lobt Bless
al us,
le Lord,
Gott, bless
den the
Sohn und den Va ter! bride and the bride groom,
B. Sohn und den Va ter! bride and the bride groom,
s. Da bless
mian
be us
sin al
get! so.
Wen woll’n The old
wir est,
a.
8
P. I
8
P. II
8b
8b
8
8
P. III
8b
P. IV
Timb.
Xyl.
Triang. Cym. C.cl.s.t. Tmb.s.t. C.cl.à.t. Tmb.à.t.
Cym. Grosse-c.
54
59 3+2
428
2+2+2
S. Hei! Ah!
M.s. Hei! Ah!
T. 8
Hei! Ah!
Gott Bless
Sohn now
und our
Va wed
ter ding
too.
Hei! Ah!
Gott Bless
Sohn now
und our
Va wed
ter ding
too.
B.
s. Hei! Ah!
a. poco
poco
8
Hei! Ah!
t.
Singt und Bless us,
lob prei O Lord,
set and
Gott Bless
Sohn now
und our
Va wed
ter ding
too.
poco
8
b.
Singt und Bless us,
lob prei O Lord,
set and
Gott Bless
Sohn now
und our
Va wed
ter ding
too.
, , ,
P. I
P. II 8b 8
, ,
P. III
très sonore!
P. IV
8b
T.d.b. Triang. Cym. C.cl.s.t. Tmb.s.t. C.cl.à.t. Tmb.à.t.
Cym. Grosse-c.
singt und lob Bless us, Lord,
prei send
set Thy
poco
8
Xyl.
set Thy
poco
poco
Timb.
prei send
poco
poco
Hei! Ah!
singt und lob Bless us, Lord,
,
55
2+2+2
432
S. Den mo
Erz ther
en and
gel the
Mi fa
chael! ther,
Mi fa
chael! ther,
Mi fa
chael! ther,
M.s. Den mo
Erz ther
en and
gel the
T. 8
den Bless
Heil’ ings
gen up
Geist! on us
all
al fa
le ther
die and
Hei the
li mo
gen. ther,
den Bless
Heil’ ings
gen up
Geist! on us
all
al fa
le ther
die and
Hei the
li mo
gen. ther,
Den mo
Erz ther
B.
s.
a. poco
8
den Bless
t.
Heil’ ings
gen up
Geist! on us
all
Singt und Bless us,
lob prei O bless
set the
al fa
le ther
die and
Hei the
li mo
gen. ther,
lob prei O bless
set the
al fa
le ther
die and
Hei the
li mo
gen. ther,
poco
8
poco
b.
den Bless
Heil’ ings
gen up
Geist! on us
all
Singt und Bless us, poco
P. I
P. II
P. III
P. IV
8b
Timb.
Xyl. T.d.b. C.cl.s.t. C.cl.à.t.
Grosse-c.
en and
gel the
56
60 2+2+2
436
3+2
S. un sis
se ter
un sis
se ter
un sis
se ter
un sis
un sis
res and
Herrn Ge burt! the bro ther,
die bless
E all
van who
ge are
li sten faith ful,
Ge burt! bro ther,
die bless
E all
res and
Herrn Ge burt! the bro ther,
die bless
E all
van who
ge are
li sten faith ful,
se ter
res and
Herrn Ge burt! the bro ther,
die bless
E all
van who
ge are
li sten faith ful,
se ter
res and
Herrn Ge burt! the bro ther,
die bless
E all
van who
ge are
li sten faith ful,
M.s. res Herrn and the
van who
ge are
li sten faith ful,
T. 8
B.
s.
a. poco
poco
8
Singt und Bless us,
t.
lob O
prei bless
set the
un sis
se ter
res and
Herrn Ge burt! the bro ther,
Singt und Bless us,
poco
poco
poco
poco
lob we
prei pray
set Thee,
die bless
E all
van who
ge are
li sten faith ful,
lob we
prei pray
set Thee,
die bless
E all
van who
ge are
li sten faith ful,
8
Singt und Bless us,
b.
poco
P. II
P. III
(très sonore)
8b
Timb.
Xyl.
T.d.b. C.cl.s.t. C.cl.Ă .t.
Grosse-c.
prei bless
set the
un sis
se ter
res and
Herrn Ge burt! the bro ther,
Singt und Bless us, poco
P. I
P. IV
lob O
57
61
440
S. und All
al who
le fear
Psal and
mi love
sten! him.
Gott, God
du pro
al tect
ter us,
gü aid
tig us
ster, now,
Gott, God
du be
all mächt’ with us
ger, now.
mi love
sten! him.
Gott, God
du pro
al tect
ter us,
gü aid
tig us
ster, now,
Gott, God
du be
all mächt’ with us
ger, now.
mi love
sten! him.
Gott, God
du pro
al tect
ter us,
gü aid
tig us
ster, now,
Gott, God
du be
all mächt’ with us
ger, now.
mi love
sten! him.
Gott, God
du pro
al tect
ter us,
gü aid
tig us
ster, now,
Gott, God
du be
all mächt’ with us
ger, now.
mi love
sten! him.
Gott, God
du pro
al tect
ter us,
gü aid
tig us
ster, now,
Gott, God
du be
all mächt’ with us
ger, now.
mi love
sten! him.
Gott, God
du pro
al tect
ter us,
gü aid
tig us
ster, now,
Gott, God
du be
all mächt’ with us
ger, now.
M.s. und All
al who
le fear
Psal and
T. 8
und All
al who
le fear
Psal and
B. und All
und All
s.
al who
al who
le fear
le fear
Psal and
Psal and
a. und All
8
t.
al who
le fear
Psal and
und All
al who
le fear
Psal and
mi love
sten! him.
Gott, God
du pro
al tect
ter us,
gü aid
tig us
ster, now,
Gott, God
du be
all mächt’ with us
ger, now.
und All
al who
le fear
Psal and
mi love
sten! him.
Gott, God
du pro
al tect
ter us,
gü aid
tig us
ster, now,
Gott, God
du be
all mächt’ with us
ger, now.
8
b.
8
P. I
sempre
P. II
sempre
8b 8
sempre
P. III
P. IV
8b
Timb. Xyl. sempre
T.d.b. C.cl.s.t. C.cl.à.t.
Grosse-c.
58
62
444
S. Komm zur Hoch zeit, komm zur Hoch zeit, komm zur Hoch zeit! Bide with us, a bide with us, a bide with us now.
M.s. Komm zur Hoch zeit, komm zur Hoch zeit, komm zur Hoch zeit! Bide with us, a bide with us, a bide with us now.
T. 8
Komm zur Hoch zeit, komm zur Hoch zeit, komm zur Hoch zeit! Bide with us, a bide with us, a bide with us now.
B. Komm zur Hoch zeit, komm zur Hoch zeit, komm zur Hoch zeit! Bide with us, a bide with us, a bide with us now.
s. Komm zur Hoch zeit, komm zur Hoch zeit, komm zur Hoch zeit! Bide with us, a bide with us, a bide with us now.
Komm zur Hoch zeit, komm zur Hoch zeit, komm zur Hoch zeit! Bide with us, a bide with us, a bide with us now.
a.
8
t.
Komm zur Hoch zeit, komm zur Hoch zeit, komm zur Hoch zeit! Bide with us, a bide with us, a bide with us now.
Hei Saint
li Luke,
ger do
Lu thou
kas, be
komm zur with us,
Hoch bless
zeit. us,
Komm, Saint
Komm zur Hoch zeit, komm zur Hoch zeit, komm zur Hoch zeit! Bide with us, a bide with us, a bide with us now.
Hei Saint
li Luke,
ger do
Lu thou
kas, be
komm zur with us,
Hoch bless
zeit. us,
Komm, Saint
8
b.
8
P. I
8
P. II
8b
P. III
P. IV
8b
Timb. Xyl. T.d.b. Triang. Cym. C.cl.s.t. Tmb.s.t. C.cl.Ă .t. Tmb.Ă .t.
Grosse-c.
baguette en bois
59
63
450
s.
a.
Heil’ Be
ger thou
Lu with
kas, us,
komm Saint
zur Hoch zeit! Luke, be with us.
Heil’ Be
ger thou
Lu with
kas, us,
komm Saint
zur Hoch zeit! Luke, be with us.
cresc.
t. 8
komm auch Luke, Saint
du! Luke.
Heil’ Bless
ger our
Lu mar
kas, riage
ger our
Lu mar
kas, riage
cresc.
komm auch Luke, Saint
b.
du! Luke.
Heil’ Bless cresc.
P. I, III
poco a poco cresc.
8
8
8
poco a poco cresc.
P. II
8b
P. IV
poco a poco cresc.
8b
Timb. poco a poco cresc.
Xyl.
Triang. Cym. C.cl.s.t. Tmb.s.t.
C.cl.à.t. Tmb.à.t.
Grosse-c.
60
457
3+2
cresc.
s. Sei Bless
Be the
schüt zer, cou ple
Sei whom
Schutz pa tron thou hast cho sen.
Be the
schüt zer, cou ple
Sei whom
Schutz pa tron thou hast cho sen.
cresc.
Sei Bless
a.
cresc.
(cresc.)
t. 8
komm, rites,
komm auch we pray
du! thee,
Sei der Schutz Bless the pair,
pa Saint
tron Luke,
al ler bless them
komm auch we pray
du! thee,
Sei der Schutz Bless the pair,
pa Saint
tron Luke,
al ler bless them
reu’ gen ar men Sün whom thou, thou hast cho
der, sen.
(cresc.)
komm, rites,
b.
reu’ whom
gen ar men Sün thou, thou hast cho
der, sen.
(cresc.)
(cresc.)
P. I, III
8
8
P. II
(cresc.)
8b
P. IV
(cresc.)
8b
Timb. (cresc.)
Xyl.
Triang. Cym.
C.cl.s.t. Tmb.s.t.
C.cl.à.t. Tmb.à.t.
Grosse-c.
8
8
61
463
64
=
cresc.
S. Sei Schutz pa tron Grant, O grant thy
res jun ing
uns bless
gen for
Paa res al ways,
und And
ih to
rer their
Kin der! chil dren.
zer des jun gen ing for
Paa res al ways,
und And
ih to
rer their
Kin der! chil dren.
und And
ih to
rer their
Kin der! chil dren.
und And
ih to
rer their
Kin der! chil dren.
cresc.
M.s. cresc.
T. 8
...Sei Be grant thy
schüt bless
B.
cresc.
,
s. ...Sei Be grant thy
zer des jun gen ing for
schüt bless
Paa res al ways,
,
cresc.
Sei Schutz pa tron Grant, O grant thy
a.
uns bless
res jun ing
gen for
Paa res al ways,
und And
ih to
rer their
Kin der! chil dren.
cresc.
,
cresc.
t. 8
al ler ar men Bless them their
Sün mar
der, riage,
Schutz pa give thy
tron bless
uns ing
res to
jun gen them for
Paa res und al ways, And
ih to
rer their
Kin der! chil dren.
Sün mar
der, riage,
Schutz pa give thy
tron bless
uns ing
res to
jun gen them for
Paa res und al ways, And
ih to
rer their
Kin der! chil dren.
cresc.
al ler ar men Bless them their
b.
cresc.
, (cresc.)
P. I, III
8
P. II
(cresc.)
,
8
(cresc.)
(cresc.)
,
8b
P. IV
(cresc.)
(cresc.)
8b
Timb. (cresc.)
Xyl. cresc.
Triang. Cym. C.cl.s.t. Tmb.s.t. sub. e poco a poco cres
cen
do
allo
C.cl.à.t. Tmb.à.t. Grosse-c.
attacca subito
62
DRITTE BILD
TROISIÈME TABLEAU
DAS BRAUTGELEIT
LE DÉPART DE LA MARIÉE
L’istesso tempo
= 469
65
s. Wie der Mond am Bright ly shines the
Fir moon
ma on
men high,
te be
durch den Strahl der side the glow ing
hel sun,
len Ev’n
Son so
ne the
selbst ein prin cess
Him mels liv’d with
licht in
ge the
wor den, pa lace
a.
P. I, III P. II, IV una corda
475
66
67
T. 8
Jetzt O
s. so hap
ist pi
uns ly
re be
klei ne side her
Na stja a ged
in fa
dem Lich ther and
te her
ih rer El tern mo ther, Hap pi
auf ly
ge wach sen, be side her
al fa
len Men schen ther and her
zur Freu mo ther
de. dear.
a.
P. I, III P. II, IV
(Der Vater und die Mutter)
(The father and the mother) 3+2
482
68 3+2
S. Auf die ser for now I
Rei se go to
in a
frem des fo reign
Land! land.
M.s. T. 8
leuch grant
te
ihr me
dein your
Se bless
gen ing,
Vä fa
ter ther,
chen, dear.
B. Wie die See how
s.
Auf die ser for now I
Rei se go to
in a
frem des fo reign
Land! land.
a.
Auf die ser for now I
Rei se go to
in a
frem des fo reign
Land! land.
Ker ze bright the
gliss.
P. I, III tre corde
P. II tre corde
P. IV 8b
tre corde
Timb. secco
,
63
(Die Freunde)
69 (The friends)
489
S. so the
Al So
steht mit prin cess
heiß em stood a
Her zen while and
uns re quick ly
klei ne Na then a way
stjin she
ka. went.
M.s. Und So
die El tern they gave their
seg bless
nen jetzt ihr ing to their
T. 8
In So
Trä she
nen be
auf fore
ge her
B. von can
der Hit ze dles burn be
weich wird, fore
da the
hin schmilzt i kon,
und so
sich I
vor der I have stood be
ko ne fore it
neigt, long,
P. I, III
P. II
P. IV
8b
496
S. Weil sie in die wei te Fer Hold ing the i kon, hold ing bread
ne and
zie het. salt
Mit too,
Salz und Brot und Hold ing bread and
ei nem hold ing
Heil’ gen salt
bild. too.
Weil sie in die wei te Fer Hold ing the i kon, hold ing bread
ne and
zie het. salt
Mit too,
Salz und Brot und Hold ing bread and
ei nem hold ing
Heil’ gen salt
bild. too.
M.s. Her zens daugh ter
kind, fair,
T. 8
löst vorm Vä ter fa ther stood weep
chen, ing.
B. Weil And
sie in die to ev’ ry
wei te quar ter
Fer ne of the
zie hen world I
wird, go.
P. I, III
P. II
P. IV
8b
simile
64
70 (Alle) (All)
503
S. In To
der the
Stu room
be, where
hier the
in two
uns lit
mo
li and
ger Da
Da mien,
rer tle
gu doves
ten are
Stu sit
be ting,
T. 8
Heil’ Thou
ger Saint
Kos Cos
mas, mo
zur Hoch zeit, with us,
komm come
hei Cos
mian, O
komm come
zur with
Hoch zeit! us,
P. I
P. II 8
P. III
P. IV
8b
Xyl.
507
71
3+3
S. be Two
tet lit
un tle
ser doves
sanf in
tes a
komm mo
zur O
Täub chen. small room,
a. Heil’ ger Kos mas, Ho ly Saint Cos
Hoch zeit, grant that
heil’ the
ger wed
2
Kos mas, ding may
schmie de die E pros per, En
2
he! Heil’ ger dur ing from
Kos mas, schmie de sie halt youth un to age, do
2
2
bar, thou
2
b. Kos Ho
ly
mas Cos
mo
und and
Da Da
mien
mian walked
a
sind bout
durch
den the
8
très fort
P. I
P. II
8
P. III
P. IV
8b
Xyl.
65
72 511
=
=
T. 8
...Daß sie al le From youth to
=
a. halt bar bis grant that the
ins ho he wed ding may
Al ter, halt pros per, En 2
2
2
bar, daß sie dur ing from
noch die hal be youth un 2
2
E wig to
keit ü age
ber en
dau re, dur ing.
2
=
b. Hof hall
ge and
gan come
gen back.
und To
our
ha chil
ben dren
Nä e
gel ven
auf un
ge to
sam them.
melt.
8
= P. I
=
= P. II
=
= P. III
=
= P. IV
= 8b
Xyl.
=
Zei ten ü ber old age, to
66
73
517
3+2
=
S. In In
der the
Stu lit
be, tle
Hier in room, the
uns hap
rer py
gu ten room, the
Stu small
be. room.
=
T. 8
dau re, old age.
=
s. Auch die To
Zeit our
ih rer chil dren
Nach kom men e’en un to
schaft! them.
Sitzt in ih rem There are sit ting
=
a.
=
t. 8
Auch die To
Zeit our
ih rer chil dren
Nach kom men e’en un to
schaft! them.
=
b.
8
= P. I
fort, très martelé
=
= P. II
excessivement fort
=
= P. III
=
= P. IV
=
=
Timb.
=
Xyl. meno
67
=
S.
= schla gen auf die ines sound ing,
Ti sche clash ing,
und cym
sind schon ganz bals are be
ver ing
Und sie Tam bour
schla gen auf die ines sound ing,
Ti clash
und cym
sind schon ganz bals are be
ver ing
= sche ing,
=
T.
=
8
Und die There is
Gäs sing
te ing,
trin danc
ken Glas ing, drink
um Glas, ing too.
=
= schmu cke two lit
a.
Und sie Tam bour
=
M.s.
s.
=
3+2
524
die tle
Braut, doves.
=
=
8
=
, =
très fort
P. I
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
P. II
P. III
P. IV
Xyl.
68
74 = 529
=
3+3
=
S.
=
=
=
=
=
=
gnügt. played.
=
M.s.
gnügt. played.
=
a.
Heil’ May
ger the
Kos mas, komm zur Hoch zeit! wed ing en dure from their
Daß die E he al le youth, from their
=
t. 8
ber dau re, to old age.
= Heil’ Long
ger and
Kos mas, komm hap py u nion
Die E wig keit ü En dure from youth un
2
2
=
zur Hoch zeit! grant thou them.
2
2
2
2
=
2
2
= Kos Ho
b.
Zeit ü youth un
mas
und ly 2
=
Da Cos
mian mo
and 2
ha Da
ben mit mien walked 2
den a
2
auf bout
ge the
= les’ hall,
2
nen Nä geln They walked a 2
2
die bout
se the 2
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
P. I
P. II
P. III
2
2
2
2
=
=
=
legato
P. IV
=
2
2
2
2 2
2
2
2
2
=
2
2
2
=
69
75 =
534
=
S.
Und auch die And un
Zeit to
ih rer Nach kom men their chil
schaft! dren,
Un be fleck te, die du Vir gin Ma ry, Mo ther
Und auch die And un
Zeit to
ih rer Nach kom men their chil
schaft! dren,
Un be fleck te, die du Vir gin Ma ry, Mo ther
Und auch die And un
Zeit to
ih rer Nach kom men their chil
schaft! dren,
Und auch die And un
Zeit to
ih rer Nach kom men their chil
schaft! dren,
=
M.s.
=
T. 8
=
B.
=
s.
Un be fleck te, die du Vir gin Ma ry, Mo ther
= Un be fleck te, die du Vir gin Ma ry, Mo ther
a.
= =
t. 8
ber dau re. to old age.
Jung Vir
2
frau gin
vol Ma ry,
ler give
Gna Thy bless
den, ing.
2
= E hall
b.
he and 2
fest then
ge they
schmie came
det. back.
2
= 8
= P. I
= = P. II
= 8
= P. III
= 2
= 2
P. IV
= Triang.
=
Cym.
=
C.cl.Ă .t.
=
2
2
baguette en bois
70
77 2+3
76
539
=
=
S. Gott of
ge our
bo blest
ren hast, Sa viour,
komm zur Hoch zeit, grant Thy bless ing,
komm zur Hoch zeit! on this u nion.
Gott of
ge our
bo blest
ren hast, Sa viour,
komm zur Hoch zeit, grant Thy bless ing,
komm zur Hoch zeit! on this u nion.
A
M.s. Bring uns die The a po
A stles
Bring uns die The a po
A stles
Bring uns die The a po
A stles
T. 8
B.
s.
a.
Gott of
ge our
bo blest
ren hast, Sa viour,
komm zur Hoch zeit, grant Thy bless ing,
komm zur Hoch zeit! on this u nion.
Gott of
ge our
bo blest
ren hast, Sa viour,
komm zur Hoch zeit, grant Thy bless ing,
komm zur Hoch zeit! on this u nion.
A
Bring uns die The a po
A stles
Bring uns die The a po
A stles
Bring uns die The a po
A stles
8
Komm zur Hoch zeit, komm zur Hoch zeit! grant Thy bless ing on this u nion.
t.
8
b.
8
8
ss.
gli
P. I
P. II
8
8
ss.
P. III
gli
P. IV
Timb. cresc.
Triang. Cym. C.cl.Ă .t. Tmb.Ă .t.
Grosse-c.
71
545
78
=
S. Erz en and all
gel mit! an gels,
Ach die Ab scieds stun de as the hops en twine to
schlägt ge
im Nu, ther,
die stles
Erz en and all
gel mit! an gels,
Ach die Ab scieds stun de as the hops en twine to
schlägt ge
im Nu, ther,
und bring auch The a po
die stles
Erz en and all
gel mit! an gels,
und bring auch The a po
die stles
Erz en and all
gel mit! an gels,
Erz en and all
gel mit! an gels,
die stles
Erz en and all
gel mit! an gels,
und bring auch The a po
die stles
Erz en and all
gel mit! an gels,
und bring auch The a po
die stles
Erz en and all
gel mit! an gels,
po stel and all
auch mit, an gels,
po stel and all
auch mit, an gels,
und bring auch The a po
po stel and all
auch mit, an gels,
po stel and all
auch mit, an gels,
po stel and all
auch mit, an gels,
po stel and all
auch mit, an gels,
und bring auch The a po
po stel and all
auch mit, an gels,
po stel and all
auch mit, an gels,
M.s.
T. 8
B.
s.
a.
8
t.
Ach die as the
8
b.
ss.
gli
P. I
,
P. II
ss.
gli
P. III
,
P. IV
, Timb. cresc.
Tmb.Ă .t.
Grosse-c.
sol muta in si
Ab schieds stun de hops en twine to
72
79
551
S. Al le Wa gen sind So our new ly mar
zur Stel le, Kut scher schnel ried cou ple cling to ge
le, ther,
fahr As
zu, one
fahr they
zu, too,
zu they
u too
Al le Wa gen sind So our new ly mar
zur Stel le, Kut scher schnel ried cou ple cling to ge
le, ther,
fahr As
zu, one
fahr they
zu, too,
zu they
u too
M.s.
T. 8
...im They
Nu! too
Al le Wa gen sind zur cling to ge ther, as the
Stel le, Kut scher schnel le fah re hops en twine to ge ther. So they
Al le Wa gen sind zur cling to ge ther, as the
Stel le, Kut scher schnel le fah re hops en twine to ge ther. So they
B.
s. Al le Wa gen sind So our new ly mar
zur Stel le, Kut scher schnel ried cou ple cling to ge
le, ther,
fahr As
zu, one
fahr they
zu, too,
zu they
u too
Al le Wa gen sind So our new ly mar
zur Stel le, Kut scher schnel ried cou ple cling to ge
le, ther,
fahr As
zu, one
fahr they
zu, too,
zu they
u too
a.
8
schl채gt ge
t.
Nu! im ther.
Al le Wa gen sind zur cling to ge ther, as the
Stel le, Kut scher schnel le fah re hops en twine to ge ther. So they
Al le Wa gen sind zur cling to ge ther, as the
Stel le, Kut scher schnel le fah re hops en twine to ge ther. So they
8
b.
P. I
8
P. II
P. III
P. IV
,
,
Timb. secco
secco
Xyl.
T.d.b. (bois)
Cym. Grosse-c.
, ,
, ,
73
(Die Braut wird hinaus geleitet. Alle entfernen sich.) 80 (The bride departs. Everyone leaves the stage accompanying her.) 559
S. zu u they two
zu u they two
zu they
u two
zu they
u two
zu they
zu u they two
zu u they two
zu they
u two
zu they
u two
zu they
zu u they two
zu u they two
zu they
u two
zu they
u two
zu they
zu u they two
zu u they two
zu they
u two
zu they
u two
zu they
zu u they two
zu u they two
zu they
u two
zu they
u two
zu they
zu u they two
zu u they two
zu they
u two
zu they
u two
zu they
M.s.
T. 8
B.
s.
a.
t. 8
b. 8
P. I
P. II
P. III
P. IV
Timb.
Xyl.
T.d.b. C.cl.s.t. Tmb.s.t. C.cl.à.t. Tmb.à.t.
Cym. Grosse-c.
très fort
74
81
(Die Szene ist leer)
(The stage remains empty)
565
S. u... two...
M.s. u... two...
T. 8
u two
zu they
u two
zu thwy
u two
zu thwy
u two
zu they
u two
zu they
u two
zu they
u two
zu they
u two
zu thwy
u two
zu thwy
u two
zu they
u two
zu they
u two
zu they
B.
s. u... two...
a.
t. 8
u... two...
b.
8
P. I
3
2
3
2
3
2
simile
8 3
2 2
3 3
2 2
3 3
2 2
3 3
simile simile
P. II 3
8
P. III
2
3 3
2
2
3 3
2
2
3 3
2
simile simile
8 3
2 2
3 3
2 2
3 3
2 2
3 3
simile simile
P. IV 3
2
3
2
3
2
3
simile
, Timb. très court
Xyl.
, T.d.b.
C.cl.s.t. Tmb.s.t.
75
82 571
(Die Mßtter des Bräutigams und der Braut treten von verschiedenen Seiten auf.)
(The mothers of the bride and groom enter on each side of the stage.) lamentando
S. Kind, own
Mein My
o dear
du mein one, child
ge lieb of mine,
tes lit
Kind, du mein tle one, my
T. 8
u... two...
B. u... two...
sub.
P. I, III
e legato
P. II
P. IV
83
579
S.
Her zens
kind,
Geh!
nicht
fort,
ach
ver laĂ&#x; die
Mut
ter
nicht!
leave
me,
my dear one,
lit
tle
one,
(for the English)
lit
tle
one,
Do
not
lamentando
M.s. Mein My
P. I, III
P. II
P. IV
Kind, own
o my
du child,
mein ge dear
lieb child
tes Kind, of mine.
an mei ner Brust hab ich dich Ah, do not leave me lone ly,
76
84
586
Komm zu
S.
rück,
komm zu
rück,
du mein
leave
me,
Her zens
kind!
Komm zu
one.
Come a
rück,
du mein
Her zens
kind!
(for the English)
child of
mine,
Do
not
my
lit
tle
gain
to
me,
my
lit
tle
one.
M.s. lange child
ge nährt, come back,
komm come
wie back
der my
du mein dear one, my
Her zens lit tle
kind! one,
Was Child
gingst you
P. I, III
P. II
P. IV
85 593
lamentando
...die
S.
du
im mer
bei dir
trugst?
gol den
keys hang
ing
Mein
lamentando
(for the English)
Hang
ing
there,
M.s. du vom have for
P. I, III
P. II
P. IV
Müt got,
ter chen dear one,
fort, have
und for
lie ßest dei ne Schlüs sel got the gol den keys hang
hier, ing,
mein My
My
77
86
601
S. mein ge My own
Kind, child
lieb lit tle
child,
tes dear
Kind! one.
M.s. Kind own
mein ge lit tle
lieb child,
tes dear
Kind one.
P. I
P. II
P. III
P. IV
Xyl.
(Die M端tter entfernen sich. Die Szene ist leer.) 609
(The mothers leave. The stage is empty.)
S.
M.s.
laissez vibrer
P. I
P. II
P. III
P. IV
Xyl.
attacca subito
78
II TEIL
PART II
VIERTE BILD
FOURTH TABLEAU
DER HOCHZEITSSCHMAUS
THE WEDDING FEAST
87 Allegro
= 120
616
s. Zwei knall ro Ber ries two
te Äp there were
fel, on
die a
fie len branch,they
vom fell
Stam me. to the
Zwei, knall ro ground, One ber
te Äp ry bows
fel, die to an
roll ten o ther
zu ber
unis.
sam men. ry one. unis.
a.
t. 8
Zwei knall ro Ber ries two
te Äp there were
fel, on
die a
fie len branch,they
vom fell
Stam me. to the
Zwei, knall ro ground, One ber
te Äp ry bows
fel, die to an
b.
P. I
8
P. II
8
P. III
P. IV
Timb. très rythmé et court
, Xyl. tremolo
T.d.b. meno
(bois)
Cym.
meno
roll ten o ther
zu ber
sam men. ry one.
79
88
620
S. Rol le, roll, roll,roll, roll, roll, zwei Äp Ai, lou li, lou li, lou li! lou chen
fel, rol le, ki, ai lou
roll, li,
rol le ai, lou
roll, li,
Rol le, roll, roll,roll, roll, roll, zwei Äp Ai, lou li, lou li, lou li! lou chen
fel, rol le, ki, ai lou
roll, li,
rol le ai, lou
roll, li,
M.s.
T. 8
Jetzt A
da die Äp fel red, a ve ry
reif red
sind, one,
Freu’n sie and a
B.
s. rol le, ai lou
roll, li,
rol le ai, lou
roll, li,
rol le, ai lou
roll, li,
rol le ai, lou
roll, li,
a.
t. 8
b. 8
8
6
très fort
P. I
P. II
8
P. III
très fort
gliss.
P. IV
Timb.
Xyl.
T.d.b.
Cym. Grosse-c.
gliss.
sich, daß sie zu straw ber ry did
80
89
625
S. Zwei Ai,
Äp lou
fel, chen
rol ki,
le, lou
roll. li.
Da And
die one
bei ber
Zwei Ai,
Äp lou
fel, chen
rol ki,
le, lou
roll. li.
Da And
die one
bei ber
Da And
die one
Da And
Da And
den Äp ry
fel to
so an
Äp
fel to
so an
bei ber
den Äp ry
fel to
so an
die one
bei ber
den Äp ry
fel to
so an
die one
bei ber
den Äp ry
fel to
so an
M.s. den ry
T. 8
zweit ri
sind, pen.
rol ai,
le, roll. lou li.
zweit ri
sind, pen.
rol ai,
le, roll. lou li.
B.
s. Zwei Ai,
Äp lou
fel, chen
rol ki,
le, lou
roll. li.
a.
t. 8
zweit ri
sind, pen.
rol ai,
le, roll. lou li.
b. 8
5 6
P. I
5
très sonore 8 5
P. II
8
5
8
8 5
P. III 5
P. IV très sonore 8b
Timb.
Xyl.
T.d.b. meno
Cym. Grosse-c.
(bois)
81
=
629
S. nah o
bei ther
sam spoke
men la gen, sweet ly.
konnt’ Close
der one
ei ber
ne ry
Ap grew
fel to
den a
an no
dern ther,
nah o
bei ther
sam spoke
men la gen, sweet ly.
konnt’ Close
der one
ei ber
ne ry
Ap grew
fel to
den a
an no
dern ther,
nah o
bei ther
sam spoke
men la gen, sweet ly.
konnt’ Close
der one
ei ber
ne ry
Ap grew
fel to
den a
an no
dern ther,
Ei So
seht, gai
ne ry
Ap grew
et close
was fra to
gen. it,
was fra to
gen. it,
was fra to
gen. it,
M.s. et close
T. 8
et close
B. ei ly,
seht gai
Fe ly
dor goes
Tich he,
no Theo
witsch dor
s. nah o
bei ther
sam spoke
men la gen, sweet ly.
konnt’ Close
der one
ei ber
fel to
den a
an no
dern ther,
et close
was fra to
unis.
gen. it,
unis.
a.
t. 8
nah o
bei ther
sam spoke
men la gen, sweet ly.
konnt’ Close
der one
ei ber
ne ry
Ap grew
Ei So
seht, gai
fel to
den a
an no
dern ther,
et close
was fra to
gen. it,
b. ei ly,
seht gai
Fe ly
.P. I
8
P. II
8
8
P. III
P. IV
Timb. più
Xyl.
T.d.b. meno
Cym. Grosse-c.
dor goes
Tich he,
no Theo
witsch dor
82
= 632
3+2
90
=
S. Und der And one
ei ber
ne ry
Ap
fel re
ist pre
Und der And one
ei ber
ne ry
Ap
fel re
ist pre
Und der And one
ei ber
ne ry
Ap
fel re
ist pre
der sents
Und der And one
ei ber
ne ry
Ap
fel re
ist pre
Und der And one
ei ber
ne ry
Ap
fel re
ist pre
der sents
Fe the
tis no
Pam fil jitsch, ble bride groom,
und der Fe tis,
der Fe sents the
tis no
Pam fil jitsch, ble bride groom,
Fe the
tis no
Pam fil jitsch, ble bride groom,
und der Fe tis,
der sents
Fe the
tis no
Pam fil jitsch, ble bride groom,
der sents
Fe the
tis no
Pam fil jitsch, ble bride groom,
an And
dere Ap the o
fel ist ther, Nas
M.s. und Fe
der an dere tis, And the
Ap o
fel ist ther, Nas
an And
dere Ap the o
fel ist ther, Nas
und der Fe tis,
an And
dere Ap the o
fel ist ther, Nas
und der Fe tis,
an And
dere Ap the o
fel ist ther, Nas
T. 8
B. ist Tich
fröh no
lich, vitch,
s.
a.
t. 8
e ben marc.
b. ist Tich
fröh no
lich, vitch,
weil I
er found
.P. I
8
P. II
8
P. III
P. IV
8b
Timb.
Xyl.
Cym. Grosse-c.
(bois)
heut’ ein a ring,
gold found
nes a
Ring lein gol den
mit ring,
ei ring
nem Tür of gold
83
2+3
636
S. uns ta
re sia,
A ’tis
na the
sta white
ssia. one.
Pa Pa
la la
gee Spa gy Sta
no no
witsch, vitch,
ssia. one.
Pa Pa
la la
gee Spa gy Sta
no no
witsch, vitch,
Pa Pa
la la
gee Spa gy Sta
no no
witsch, vitch,
M.s. uns ta
re sia,
A ’tis
na the
sta white
T. 8
uns ta
re sia,
A ’tis
na the
sta white
ssia. one.
fausset
port.
B. Pa Who
uns ta
s.
re sia,
A ’tis
na the
sta white
ssia. one.
la comes
gee here
ist so
trau gai
rig, ly?
a. uns ta
re sia,
A ’tis
na the
sta white
ssia. one.
t. 8
b. kis set
ge with
fun den hat. pre cious stones. 8
P. I
1
8
8
P. II
8
gliss.
P. III
assez fort
P. IV
8b
Timb.
Xyl. gliss.
T.d.b.
Cym. Grosse-c.
gliss.
84
2+3
639
91
S. Pa Pa
la lo
gee gy
Spa Sta
no no
witsch, vitch,
Pa Pa
la lo
gee gy
Spa Sta
no no
witsch, vitch,
M.s.
fausset
port.
meno
B. Pa la gee Who is’t comes
s.
ist here
so so
trau gai
rig, ly?
Weil I
Pa Pa
la lo
gee gy
Spa Sta
no no
witsch, vitch,
8
.P. I
8
gliss.
subito meno
P. II
8b
gliss.
P. III
subito meno
P. IV
8b
Timb.
Xyl. gliss.
T.d.b.
Grosse-c. secco
er have
ein lost,
85
92
642
B. gold lost
nes the
Ring lein gol den
mit ring
ei with
nem T端r jew els
kis set,
ver with
lo ren hat. pre cious stones.
s. Trau Oh,
rig oh,
ist er, poor me,
ist oh,
der poor
Pa la gee, Pa la gy.
Trau Oh,
rig oh,
ist er, poor me,
ist oh,
der poor
Pa la gee, Pa la gy.
a.
t. 8
.P. I
P. II
8b
P. III
P. IV
8b
Grosse-c.
86
647
s. ist Oh,
der poor
Pa la gee, Pa la gy
ist no
der more
Spa nitsch, is gay,
ist No
der more
Pa la gee is he gay,
ist oh,
der poor
Spa nitsch, Pa la gy.
ist Oh,
der poor
Pa la gee, Pa la gy
ist no
der more
Spa nitsch, is gay,
ist No
der more
Pa la gee is he gay,
ist oh,
der poor
Spa nitsch, Pa la gy.
er ein lost the
gold nes Ring gold ring,
ei nem TĂźr kis ring with pre
ver lo ren hat. cious stones and jew’ls.
a.
t. 8
b. Weil has
P. I
P. II
P. III
P. IV
lein mit lost the
87
93 651
S. Schoß ein Fly ing
Hund comes
her a
an in grey, a
schnel lit
lem tle
Lauf, goose.
scheu Fly
chte ing
Schoß ein Fly ing
Hund comes
her a
an in grey, a
schnel lit
lem tle
Lauf, goose.
scheu Fly
chte ing
Schoß ein Fly ing
Hund comes
her a
an in grey, a
schnel lit
lem tle
Lauf, goose.
scheu Fly
chte ing
Schoß ein Fly ing
Hund comes
her a
an in grey, a
schnel lit
lem tle
Lauf, goose.
scheu Fly
chte ing
ro ber
te ry
fel, to
die a
fie no
fel, to
die a
schnel comes
lem a
Lauf, goose.
M.s.
T. 8
B.
s. Zwei knall One red
Äp bows
len ther
vom red
Stam me ber ry,
Zwei One
knall red
ro ber
te ry
Äp spoke
a.
t. 8
Lu, lu, lu, lu, lu, lu, You, you, you,you, you, you,
lu, lu, lu, lu, ein Hund, you, you,you,you,you, you,
Lu, lu, lu, lu, lu, lu, You, you, you, you, you, you,
b. lu, lu, lu, lu, lu, lu, you, you, you, you, you, you,
...schnel comes
lem a
Lauf, goose,
lu, lu, you,you,
lu, lu, lu, lu... you, you, you, you,
8
P. I
8
P. II
très fort et détaché
P. III
P. IV
Timb.
Xyl. très fort
T.d.b. meno
meno
lu, lu, you, you,
88
94
654
S. ei comes
ne a
jun grey,
ge a
Wild lit
gans tle
auf... goose,
Wau! Oi!
ei comes
ne a
jun grey,
ge a
Wild lit
gans tle
auf... goose,
Wau! Oi!
ei comes
ne a
jun grey,
ge a
Wild lit
gans tle
auf... goose,
Wau! Oi!
ei comes
ne a
jun grey,
ge a
Wild lit
gans tle
auf... goose,
Wau! Oi!
roll no
ten ther
zu red
M.s.
T. 8
B.
s. sam ber
men. ry.
lu, lu, lu, lu, lu, lu, lu, you, you, you, you, you, you, you,
Wau! Oi!
a. ...Wild comes
gans a
auf... goose,
lu, lu, lu, lu, lu, lu, lu, lu, you, you, you, you, you, you, you, you,
Wau! Oi!
t. 8
lu, lu, ein Hund, you, you, you, you,
lu, lu, lu, lu, lu, lu, you, you, you, you, you, you,
lu, lu, lu, lu, lu, lu, lu, lu, lu, lu, lu, you, you, you, you, you, you, you, you, you, you, you,
Wau! Oi!
b. ...Wild comes
gans a
auf... goose,
lu, lu, lu, lu, lu, lu, lu, lu, you, you, you, you, you, you, you, you,
Wau! Oi! 8
8
P. I
sempre
8
P. II
sempre
8
P. III
sempre
8
P. IV
8
gliss.
gliss.
sempre
Timb. Xyl.
T.d.b. C.cl.s.t. Tmb.s.t. C.cl.Ă .t. Tmb.Ă .t. Cym. Grosse-c.
(bois)
89
657
S. Wau! Oi!
Wau! Oi!
Wau! Oi!
Wau! Oi!
M.s.
T. 8
Wau! Oi!
Schoß ein Hund her Fly ing comes a
an grey
in goose,
schnel lem lit tle
Lauf, goose,
B. Wau! Oi!
Wau! Oi!
Wau! Oi!
Wau! Oi!
Wau! Oi!
Wau! Oi!
s.
a.
t. 8
b.
8
.P. I
P. II
8
P. III
P. IV
Timb. Xyl.
T.d.b. C.cl.s.t. Tmb.s.t. C.cl.à.t. Tmb.à.t. Cym. Grosse-c.
scheu chte ei Fly ing comes
ne a
jun grey
ge goose,
90
663
95
S. Wau! Oi!
Wau! Oi!
Hel Now
le Fe dern trug sie, its wings are beat ing,
lu, ai
lu, lu
lu, lie!
lu, lu, ai lu
lu, lie!
Wau! Oi!
Wau! Oi!
Hel Now
le Fe dern trug sie, its wings are beat ing,
lu, ai
lu, lu
lu, lie!
lu, lu, ai lu
lu, lie!
M.s.
T. 8
Wild gans auf... lit tle goose,
Wau! Oi!
Und its
mit den Flü geln schlug sie, ti ny feet are scrat ching,
Hei das Mak ing
B. Wau! Oi!
Wau! Oi!
Wau! Oi!
Wau! Oi!
Wau! Oi!
Wau! Oi!
s.
a.
t. 8
b. 8
8
P. I
(sempre
)
P. II
(sempre
)
8
P. III
(sempre
8
m.g.
)
gliss.
P. IV
(sempre
)
muta in ré
Timb.
Xyl.
T.d.b. C.cl.s.t. Tmb.s.t. C.cl.à.t. Tmb.à.t. Cym. Grosse-c.
,
préparez le sol aigu
91
96
669
S. lu, oi
lu, lai.
Wau, Oi,
wau, la,
wau, wau, oi, la,
wau, wau! oi, la,
lu, oi
lu, lai.
Wau, Oi,
wau, la,
wau, wau, oi, la,
wau, wau! oi, la,
M.s.
T. 8
war ein Ja gen. clouds of dust, rise,
Wau! Oi
Wau! lai!
Wau! Oi
Wau! lai!
’s ging ihr mak ing
an den all the
Kra gen. no bles.
Wau! Oi!
Wau! lai!
Wau! Oi!
Wau! lai!
B.
unis.
unis.
unis.
s. lu, oi
lu, lai.
Wau, Oi,
wau, la,
wau, wau, oi, la,
wau, wau! oi, la,
a.
unis.
unis.
t. 8
Wau! Oi
Wau! lai!
Wau! Oi!
Wau! lai!
unis.
b. 8
8
8
5
P. I
8
6
6
8 3
P. II
8
1
glis
s.
P. III
gliss.
P. IV
si muta in sol
Timb.
Xyl.
T.d.b. baguettes en mĂŠtal
Triang. Cym.
Cym. Grosse-c.
(bois)
, ,
92
(Der Vater des Bräutigams) 675
(Die Männer)
97 (The men)
(The bride’s father)
(Die Frauen)
(The girls)
S. Siehst du wohl, da And what did we
sha tell
ben wir dir you, dear Nas
Siehst du wohl, da And what did we
sha tell
ben wir dir you, dear Nas
Siehst du wohl, da And what did we
sha tell
ben wir dir you, dear Nas
M.s. T. 8
Die dir whom God
port.
be stimm te hath gi ven
Frau. you.
B. Hier Now
ist dei be hold
ne your
Frau, wife,
s.
a.
8
t.
Die Frau hat Müh’ und Your wife must sew and
Plag’. spin,
Die Frau hat Müh’ und Your wife must sew and
Plag’. spin,
8
...ne your
b.
Frau, wife,
8
.P. I
8
gliss.
P. II
8
P. III
8
P. IV
Timb. Xyl. très fort
T.d.b.
poco
C.cl.s.t. Tmb.s.t. C.cl.à.t. Tmb.à.t.
bois secco
,
Cym. Grosse-c. poco
poco
93
679
(Die Männer)
(Die Frauen)
(The men)
(The girls)
S. auch ge sagt. ta si a?
Siehst du wohl, das ha ben wir And what did we tell you, dear
dir auch ge sagt. Nas ta si a?
M.s. T. 8
s.
...den and
lie sew
ben and
lan spin
gen the
Tag. flax.
auch ge sagt. ta si a?
Siehst du wohl, das ha ben wir And what did we tell you, dear
dir auch ge sagt. Nas ta si a?
auch ge sagt. ta si a?
Siehst du wohl, das ha ben wir And what did we tell you, dear
dir auch ge sagt. Nas ta si a?
a.
8
t.
denn im Haus schafft sie den lie ben lan gen she must keep the li nen white and sew it
Tag. too.
denn im Haus schafft sie den lie ben lan gen she must keep the li nen white and sew it
Tag. too.
8
b.
8
.P. I
8
P. II
2
gliss.
8
8
8
P. III
8 2
P. IV
muta in sol
Timb. Xyl.
T.d.b.
poco
C.cl.s.t. Tmb.s.t. C.cl.à.t. Tmb.à.t. secco
Cym. Grosse-c. poco
8
,
gliss.
94
(Die Mutter der Braut führt ihre Tochter dem Schwiegersohne zu.)
(Ein Freund, die Mutter des Bräutigams, Bräutigams, der Heiratsvermittler und die Vermittlerin abwechselnd.)
98 (The mother of the bride leads her to her son-in-law.)
(The friends, the mother of the groom, the marriage-broker and his wife in turn.)
682
S.
3
3
3
3
3
3
3
3
3
3
3
M.s. Hier To
mein you
lie ber Schwie ger sohn, ü I en trust her, my son
ber ge be ich dir mein ge in law, I en trust her, my
lieb tes Kind. daugh ter dear.
3
Sie schafft im Haus al le Ta Food you shall give her and clothe
3
ge. her,
3
T. 8
Die Let
Frau her
hat viel Pla sew the li
ge, nen,
B. Der Give
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
P. I
8b
P. II
(sonore)
P. III
ma sonore 8b
P. IV
très sec
Timb.
C.cl.s.t.
avec 2 m. très bref et sec
Tmb.s.t.
Cym. Grosse-c.
95
99
686
3 3
3
3
3
3
S. Der Mann be And set
stel her
let to
Flur Work,
und Feld und ver dient auch das you feed her and clothe her and
nöt’ bid
ge Geld. her work.
cresc. 3
3
3
3
3
3
3
M.s. DerMann be stel let Flur und Feld give her to eat and to drink
ver dient and clothe
das nöt’ ge her and send her
lie out
be Geld. to work.
3 3
3
3
3
3
T. 8
Der Mann be And set 3
3
3
stel her
let to
Flur Work,
und Feld und ver dient auch das you feed her and clothe her and
nöt’ bid
ge Geld. her work.
3
B. Mann
be her
stil food
let Flur and clothe
und her
Feld. too. 3
3
3
s. Und ver dient auch das You shall feed her and 3
nöt’ bid
3
ge Geld. her work. 3
a. Und ver dient auch das You shall feed her and 3
nöt’ bid
ge Geld. her work. 3
3
t. 8
3
3
3
3
3
3
3
3
3
3
.P. I 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
P. II 3
3
3
3
3
3
3
3
3
3
P. III
8b (sonore)
P. IV
8b muta in fa
Timb.
Xyl. gliss.
T.d.b. frolez
C.cl.s.t. Tmb.s.t. (bois)
Cym. Grosse-c.
96
(Der Vater) 690
100
(The father)
=
port.
T. 8
Er Love
spart nicht, her
spart nicht mit Lie ben, and shake her like a
port.
B. Er You
hackt saw
Holz. logs.
das the
spart nicht O love,
Har tes Holz. Ask a gain.
s.
Bum! (Clap)
a. Bum! (Clap)
t. 8
Bum! (Clap)
b. ...das the
Holz. long.
Bum! (Clap)
Er O
8
P. I, III
P. II, IV
muta in do
Timb. gliss.
Xyl.
T.d.b.
C.cl.s.t. Tmb.s.t.
C.cl.Ă .t. Tmb.Ă .t.
Cym. Grosse-c.
gliss.
spart nicht love her
mit Lie ben, shake her like a
97
= 696
101
3+2
T. 8
spart nicht mit pear tree and
Lie love
ben. her.
spart nicht mit pear tree and
Lie love
ben. her.
Die They
Bo are
Lie love
ben. her.
B.
s. ren ja come, our
ste no
hen bles,
auf fill
von the
ih flow
ren ing
Bän gob
ken, lets,
a.
t. 8
spart nicht mit Shake her and
auf Round
b.
gliss.
gliss.
P. I, III
P. II, IV
préparez le si
Timb.
Xyl. sempre
T.d.b. sempre
C.cl.s.t. Tmb.s.t.
C.cl.à.t. Tmb.à.t.
Cym. Grosse-c.
von the
ih ta
ren bles
Bän go
ken, ing,
98
102
700
s. um fill
den the
lie flow
ben ing
G채 gob
sten lets,
noch Go
mal ing
ein zu round a
schen ken, auch mong the guests
der and
Frau toast
Ma ing
ri Ma
a. ry.
a.
t. 8
Auch Shake
b.
gliss.
gliss.
gliss.
P. I, III
P. II
P. IV
Timb.
Xyl. (
T.d.b.
C.cl.s.t. Tmb.s.t.
Grosse-c.
sempre)
der Frau Ma her like a
ri pear
a. tree.
99
Poco meno mosso
704
S. eß do
„Ich “I
und not
B. „Trink doch Drink thou,
aus lit
tle
Müt mo
chen,
ter ther,
iß eat
doch, thou,
Cha Ma
ri ri
to
no tov
wa“ na.”
P. I
P. II
P. III
P. IV
709
103
port.
colla parte
S. trin drink,
ke I
nicht, und do not
euch eat,
ge I
horch lis
ich ten
nicht!” here.” allarg. e pesante
„Ja, dann „Lis ten accel. 3
a tempo
B. „Und wen nes dein Mann “If our Si mon
P. I
3
P. II
P. III
P. IV
C.cl.s.t. Tmb.s.t. Grosse-c.
3
3
ver langt?” were here!
eß to
und the
100
104 713
Tempo I
3
= 120
S. trin no
ke bles
ich, as
und they
dann eat
ge and
hor drink,
che their
ich.” wine.”
T. 8
Du Where
B. Du Where
s. „Wer “O
dir’s you
glaubt, gay,
al noi
te sy
Schwät chatt
ze ’ring
rin! goose,
a.
b. Du Where
gliss.
gliss.
gliss.
gliss.
P. I
P. II
leggiero
P. III
P. IV
Timb.
Xyl. sempre
T.d.b. sempre
Grosse-c.
101
105
717
T. 8
Schwatz have
ba you
se! been?
Schwatz have
ba you
se! been?
B.
s. Was Noi
hast du denn sy goose, where
wie der have you
mal been
ge
sehn? what
Und did
was you
hast du see there?
denn and
wie der what did
mal you
er see
lebt?” there?”
a.
t. 8
Was hast Where have
b. Schwatz have
ba you
se! been?
Du A
gliss.
gliss.
gliss.
gliss.
Schwatz Chi
ba na
P. I
P. II
P. III
P. IV
Timb.
Xyl.
T.d.b. C.cl.s.t. Tmb.s.t. C.cl.à.t. Tmb.à.t. Grosse-c.
sub.
se! man?
Was hast Where have
du denn you been,
wie der what did
102
106
722
S. „Ich war am Meer, am “I have been far a
blau en way at
Meer, sea,
in the
frü her Mor gen stund am blue sea and the lake of
Meer. blue.
s.
a. Am Meer, Lou li,
t. 8
du denn wie you been, what
der did
mal you
er lebt?” see there?”
b. mal you
er see
lebt?” there?”
P. I
P. II
❉
P. III
P. IV
muta in do fa
Timb.
T.d.b.
C.cl.s.t. Tmb.s.t.
C.cl.à.t. Tmb.à.t.
am lou
103
107
728
S. Und dort im Meer beim frü hen A swan neck’d mai den in the
Mor gen rot, sea was bath
da ba de te ein wei ßer Schwan. ing, wash ing there her Sun day dress.
s. Du meinst wohl hier am Teich! A way u pon the sea.
Das Was
war doch höch stens ei ne wash ing there her Sun day
Meer?Du meinst wohl hier am Teich! li, A way u pon the sea.
Ein Schwan? Das Lou li, Was
war doch höch stens ei ne wash ing there her Sun day
a.
P. II
P. IV
Timb.
734
108
M.s. ...Viel leicht schwammdoch ein Schwan im Mee re? ...A lit tle white swan, did you see it there?
Hast du die Schwä nin auch ge se hen? and did you see a lit tle white swan?
T. 8
Wa And
rum soll how should
Ma not
ri a nicht I have seen
B. Hast du die Schwä nin auch ge se hen? and did you see a lit tle white swan?
s. Gans! dress,
a.
b. Hei! Lui,
Hei! Lui,
8
8
P. I
P. II
très fort
8
8
P. III
P. IV
Xyl.
très fort
am blau en the sea, not
104
109
739
S.
T. 8
Meer I
ge have
we seen
sen the
sein? sea? fausset
B. Si Ay,
s. Viel leicht hat How should not
I
sie doch am have seen the
a.
8
5
P. I
P. II
lâchez
8
P. III
P. IV
C.cl.s.t. Tmb.s.t.
C.cl.à.t. Tmb.à.t.
et toujours lâchez
Meer sea,
ei nen Schwan ge seen the lit tle
sehn. swan?
cher hielt der Schwan die be neath his wing the
105
743
S. Zwei Two
wei ße Schwä ne schwam men swans, two white swans in the
dort sea,
zwei Schwä ne schwam men were swim ming in the
T. 8
fausset
fausset
B. Schwä nin bei sich fest, swan doth hide his mate.
si Ay,
cher hielt er sie mit be neath his wing the
sei swan
nen Flü geln fest, doth hide his mate.
...wie Ay,
Fe and
tis Fe
die Braut nicht tis holds Nas
s.
a. Zwei Oi,
P. I
P. II
P. III
P. IV
C.cl.s.t. Tmb.s.t.
C.cl.à.t. Tmb.à.t.
Schwä lou
106
110 (Einer der Freunde zur Braut)
(One of the bride’s friends)
747
S. auf dem sea, two
Meer. swan.
T. 8
Ei And
wie you,
Ei And
wie you,
fausset 3
3
B. von ta
sei si
a
ner Sei right ten
te läßt. der ly,
Wie Ay,
Fe and
tis Fe
Na sta ssja tis holds his
an bride
sei nen Bu sen preßt.” to him ten der ly.”
s. Sie Two
schwam men auf dem swans were swim ming
Meer. there.
sie Two
schwam men auf dem Meer. swans were swim ming there.
a. ne schwam men dort, li, oi, lou li
P. I
P. II
P. III
P. IV
Timb. gliss.
Xyl.
T.d.b.
C.cl.s.t. Tmb.s.t. C.cl.à.t. Tmb.à.t.
Cym. Grosse-c.
(bois)
Œi and
107
(Die Braut)
(The bride)
2+3
751
S. Bis zum Gür tel I have donn’d a
te ich den
steck gol
in belt,
lau ter it is
Gold, plai
ted with
Per len ket ten hin gen bis zum pearls that trail and hang down to the
T. 8
Na sta Nas ta
ssja, ge lang die das? sia, what have you done?
B. wie? you.
subito e legato
P. I, III
subito e legato
P. II, IV
Timb.
(Der Heiratsvermittler) (Einer der Freunde)
(The marriage-broker)
111
755
(One of the friends) =
(sempre)
3+2
S. Saum ground,
he rab. the ground.
(schreit) (shouting)
3
3
3
3
T. 8
He, Now,
Herr Kup pel petz, all you who are
al rogue,
ter Säu Nas ta
tu was für’s Geld, come to the feast,
bring die lead the
Braut! bride
Der Herr in, the
B. Braut O
va you
ter, du mer ry old
du fa
al
tes ther,
Loch, you,
Hast dein Kind ver He has sold his
b.
sempre legatissimo
(sempre
P. I
8
)
sempre legatissimo
P. II
sempre legatissimo
P. III
, P. IV
fer, sia’s
sempre legatissimo
108
112 (Der gleiche Freund)
(The same friend) 760
3
T. 8
Bräu ti bride groom
gam is
mopst sich schreck lich! wait ing lone ly.
He! You
Ihr fair
B. für ein klei Hold ing
scha child
b.
chert for
für wine,
ein Fläschel chen for flow ing
Brannt gob
nes a
Flä gob
schel chen let of
Für rare
ein old
win zig wine, a
Schlük rare
kel gob
chen! let.
wein, lets!
P. I
8
P. II
sub.
P. III
sub.
P. IV
sub.
T.d.b.
766
T. 8
P. II
P. III
P. IV
T.d.b.
Wei maids,
ber and
volk! you
He! pas
Ihr try
al ten cooks, and
und you
ihr plate
jun wash
gen! ers,
He! You
Ihr good
da for
hin no
ten, ting,
ihr good
da for
109
113
772
T. 8
vorn! no
Jung thing,
fern you
mit chat
und ter
oh box
ne es,
Kind! All
He! you
Ihr la
ver zy
schlamp wives,
te you
Brut, sil
ihr ly
ma Reds,
ge you
ren, fool
ihr ish
8
staccatissimo
P. I
8
P. II
P. III
P. IV
T.d.b.
† clamando
777
3
3
T. 8
kräf ones,
ti And
gen, all
ihr you
zar nau
te ghty
ren, ones
ihr who
def are
ti a
gen, mong
ihr the
Wei wed
ber ding
volk! guests,
Sing teinLied chen! Raise your voi ces!
(8)
P. I
(8)
P. II
P. III
P. IV
colla parte 3 3
T.d.b. main = Prendre un second tambour de basque
C.cl.s.t.
[† Clamando: from Latin clamare, meaning to call, to convene.]
genou =
colla parte 3
3
110
114 783
(Ein Freund des Bräutigams wählt aus den Gästen einen Mann und dessen Frau aus und füht sie zum Bett, damit sie sich hineinlegen und es für das junge Paar vorwärmen.) (One of the friends chooses a man and his wife from the guests and sends them to warm the bed for the bridal pair.)
A tempo
S. “Ich “I
will would
schla sleep
fen.” now,”
“Und “Take
ich me
mit dir.” with you.”
“Doch das Bett “Is the bed
“Ich “I
will would
schla sleep
fen.” now,”
“Und “Take
ich me
mit dir.” with you.”
“Doch das Bett “Is the bed
M.s.
T. 8
s. Der Pam fil jitsch sagt: Hear the bride groom say ing:
Die Mas tas And the bride
ja re
sagt: ply ing:
Der Pam Hear the
fil jitsch sagt: bride groom say ing:
a.
P. I
P. II
P. III
P. IV
788
S. ist schmal.” nar row?”
“Uns “Not
zwein reicht es.” too nar row.”
“Die Dek “How cold
ke are
ist the
kalt.” blan kets?”
”Uns “They
ist schmal.” nar row?”
“Uns “Not
zwein reicht es.” too nar row.”
“Die Dek “How cold
ke are
ist the
kalt.” blan kets?”
”Uns “They
M.s. T. 8
s. Die Nas tass And the bride
a.
P. I
P. II
P. III
P. IV
ja re
sagt: ply ing:
Der Pam fil jitsch sagt: Hear the bride groom say ing:
Die Nas tass And the bride
ja re
sagt: ply ing:
111
115
793
S. wird shall
warm sein.” warm them.”
wird shall
warm sein.” warm them.”
M.s. T. 8
s.
Dem Fe ’Tis to
P. I
très fort
tis Pam fil thee, Fe tis
ji tsch sin sing we now
gen this
wir ein lit tle
Lied dem stol song, And to
zen Fal ken und der wei ßen Schwä nin, the lit tle dove, the white one, to Nas
P. II
très fort
P. III
P. IV
116
798
S. Ihr Dost
bei hear
den us,
A hear
na est
sta thou
ssju schka und Fe tis, dost
Fe hear
tis us,
Pam Pam
fil fi
je lie
witsch? vitch,
wna. Ihr too. Dost
bei hear
den us,
A hear
na est
sta thou
ssju schka und Fe tis, dost
Fe hear
tis us,
Pam Pam
fil fi
je lie
witsch? vitch,
den us,
A hear
na est
tis us,
Pam Pam
fil fi
je lie
witsch? vitch,
M.s.
s.
a.
P. I, III
P. II
P. IV
der ta
Na sia,
sta to
ssja our
Ti Ti
mo mo
fe feev
je na,
Ihr bei Dost hear
sta thou
ssju schka und Fe tis, dost
Fe hear
112
(Der Vermittler und die Gäste)
117 (The marriage-broker and guests)
802
B. Lieg Do
nicht not
län lie
ger thus
dort am by the
U steep
fer her um. ri ver bank,
...dort am by the
U steep
fer her ri ver
unis.
s. Hört doch her, We are hon
hört doch her, wir sin our ing you, we sing
gen euch zur our song to
Ehr’. you.
unis.
a.
b.
um. bank,
P. I, III
P. II
e sempre legatissimo
P. IV
e sempre legatissimo
118
808
B. He! Ay
b.
P. II
P. IV
Steh auf, sit down,
Sal Sa
wel jusch ka, ve lyouch ka.
rum? und weißt du auch wa In a sum mer house,
Zu a
Bier wed
und ding pre pare
Zu a
Bier wed
und ding pre pare
113
(Die Gäste)
119 (The guests)
814
T. 8
Man ver gnügt sich präch tig No bles sat at ta ble
B. Wein now
lädt for
man dich Fe tis.
ein. Oy!
s. Hoch zeit wird ge In the farm house
fei see
ert, how
wird heut’ ge jol ly a
fei feast
is
ert, held,
a.
8
Man ver gnügt sich präch tig No bles sat at ta ble
t.
8
b.
P. I, III
P. II
P. IV
Timb.
Wein... now
114
820
120
2+3
3
T. 8
und ge trun ken wird mäch tig, drink ing ho ney and wine, And
und man hält auch all the while made
Re spee
den. ches.
und man hält ach all the while made
Re spee
den. ches.
und man hält auch all the while made
Re spee
den. ches.
und man hält auch all the while made
Re spee
den. ches.
B. Hei da gib tes Sa Mer ri ly, oh
3
8
und ge trun ken wird mäch tig, drink ing ho ney and wine, And
t.
3
8
b.
P. I, III
P. II
legatissimo
P. IV
legatissimo
Timb.
chen,da mer ri
wirst du Au gen ma ly, our wed ding went
chen. tru ly.
115
121 825
S. Uns re Our Nas
A ta
na sia
sta ssja goes a
Uns re Our Nas
A ta
na sia
sta ssja goes a
A ta
na sia
sta ssja goes a
M.s.
T. 8
Und But
es gibt ein the tenth is
Fäß fi
chen vom be sten nest, the best of
Wein. all.
eund es gibt ein But the tenth is
Fäß fi
chenvom be sten nest, the best of
Wein. all.
B. Neun Nine
Kes sel Stark kinds of beer,
bierbrau te man hier the good wife had pre
ein, pared,
Uns re Our Nas
a.
t. 8
es gibt ein the tenth is
Fäß fi
chen vom be sten nest, the best of
Wein. all.
ein, pared,
eund es gibt ein But the tenth is
Fäß fi
chenvom be sten nest, the best of
Wein. all.
und But
es gibt ein the tenth is
Fäß fi
chen vom be sten nest, the best of
Wein. all.
Und But
Neun Nine
Kes sel Stark kinds of beer,
bierbrau te man hier the good wife had pre
b.
Neun Nine
P. I
P. II
P. III
P. IV
Timb.
Kes sel Stark kinds of beer,
bier brau te man hier ein, the good wife had pre pared,
116
830
S. kommt jetzt way, to
in dwell
die a
Frem de. far off,
Doch auch in a
in dis
der tant
Frem de coun try.
wird Wise
es ly
Na shall
stja she
gut geh’n; live there
es and
wird in
Na hap
stja pi
gut geh’n; ness.
kommt jetzt way, to
in dwell
die a
Frem de. far off,
Doch auch in a
in dis
der tant
Frem de coun try.
wird Wise
es ly
Na shall
stja she
gut geh’n; live there
es and
wird in
Na hap
stja pi
gut geh’n; ness.
M.s.
T. 8
...Na and
stja hap
wird pi
es ness,
...Na and
stja hap
wird pi
es ness,
Na hap
stja pi
gut ness,
geh’n,
B.
Auch Wise
s.
kommt jetzt way, to
a.
in dwell
die a
Frem de. far off,
Doch auch in a
in dis
der tant
Frem de coun try.
in
der ly
Frem shall
de she
wird Wise
es ly
Na shall
stja she
wird live
es in
gut geh’n; live there
es and
wird in
Na hap
stja pi
gut geh’n; ness.
t. 8
...Na and
b.
P. I
meno
P. II
simile
P. III
P. IV
stja hap
wird pi
es ness,
117
122
834
S. weil sie Let her
ja be
ver sub
st채n dig mis sive,
und ge hor sam let her be o
ist. be dient.
weil sie Let her
ja be
ver sub
st채n dig mis sive,
und ge hor sam let her be o
ist. be dient.
Bist She
du who
M.s.
T. 8
im hap
mer pi
gut gehn. ness.
im hap
mer pi
gut gehn. ness.
B.
weil sie in hap
s.
weil sie Let her
a.
ja be
ver st채n pi ness,
ver sub
dig in
st채n dig mis sive,
und hap
ge pi
hor sam. ness.
und ge hor sam let her be o
ist. be dient.
t. 8
im hap
mer pi
gut gehn. ness.
b.
P. I
P. II
P. III
P. IV
meno
poco
sempre sim.
stets knows
wohl how
ge to
mut, be
sind o
dir be
al le dient, al
118
=
2+3
839
(Die Gäste abwechselnd)
(The guests in turn)
=
S. Men ways
schen is
gut. hap py.
Vor den Al ten und Bow then cour teous ly,
Jun both
gen woll’n to the
wir old
uns and
ver nei gen, the young ones.
Und dem jun gen Paa re To the ve ry young est
Wohl mai
ge dens
Und dem jun gen Paa re To the ve ry young est
Wohl mai
ge dens
Und dem jun gen Paa re Wohl To the ve ry young est mai
ge dens
=
M.s.
=
T. 8
B.
123
Vor den Al ten und Bow then cour teous ly,
Jun both
gen woll’n to the
wir old
uns and
ver nei gen, the young ones.
= Durch Gas sen, durch Stra A smart young dan dy,
8
= P. I
=
= P. II
=
= P. III
=
= P. IV
très fort
= 8b
Timb.
=
Xyl.
=
119
844
S. fal you
len must
be bow
fal you
len must
be bow
fal you
len must
be bow
ßen, a
wei dan
zei low
gen. er,
Ü In
ber the
grü gar
zei low
gen. er,
Ü In
ber the
grü gar
zei low
gen. er,
Weg, went
wohl a
ne den
Flu green
ren there,
Flu green
ren there,
M.s. ne den
T. 8
Da A
ging ein smart young
B. ten dy
ü ber schma len Steg walk ing down the street,
ging ein Down the
jun long
ger wide
Bau street
Ü In
ber the
grü gar
ern walk
bursch. ing.
s.
a.
b. ...ten a
Weg, dan
wohl dy
ü ber schma len Steg walk ing down the street,
8
P. I
P. II
P. III
P. IV
8b
Timb.
Xyl.
ne den
Flu green
ren there,
120
847
S. er tis
Na stood
er tis
Na stjas stood
schmu cker dan dy
jun ger went a
folgt Fe
stjas and
Spu look’d
ren u
Spu look’d
ren u
der pon
Fe the
tis marks
sisch of
Fe the
tis sisch marks of
ka his
folgt Nas
der ta
ge sia’s
lieb feet,
ka his
folgt Nas
der ta
ge sia’s
lieb feet,
neu head
en he
Hut wore
folgt Nas
der ta
ten his
A own
na Nas
sta ta
ssja. sia.
M.s. folgt Fe
der pon
ten his
A own
na Nas
sta ta
ssja. sia.
T. 8
gro ßer blon der Bursch walk ing down the street.
B. Ei On
nen his
voll a
stolz fine
auf dem run den Kop fe. fur ry cap for win ter.
s. folgt Fe
er tis
Na stood
stjas and
Spu look’d
ren u
der pon
Fe the
tis marks
sisch of
ka his
ge sia’s
lieb feet,
ten his
A own
na Nas
sta ta
ssja. sia.
a.
t. 8
...gro ßer blon der Bursch walk ing down the street.
mit vi o fur ry cap
b. Ei fur 8
P. I
P. II
P. III
P. IV
Timb.
Xyl.
nen neu en Hut. ry cap for win ter.
let tem Band. for win ter.
121
124 850
2+3
meno
T. 8
Und mit leich ten Schrit My Nas ta sia walks
P. I
sub. meno
P. II
sub.
e legatissimo
P. III
sub.
e legatissimo
P. IV
sub.
e legatissimo
ten sieht ve ry
er Na quick ly
sta ssja trip and her new
pein, Na lit tle
sta coat,
im Bi is lined
ber pelz, in dem neu en Bi with the fur of mar tens co
ber pelz, si ly.
e legatissimo
(Die Freunde)
(Einer der Freunde)
(The friends) clamando
854
ssja It
Poco rubato
(One of the friends) a tempo
125
3
clamando 3
5
5
T. 8
selbst ein klei nes Bi ber chen. Black her brows and beau ti ful.
Poco rubato
V채 ter chen trink nun end lich dein hun dert stes Gl채s chen Now then, you old man,come and drink a lit tle glass of
a tempo 3
t. 8
P. I
selbst ein klei nes Bi ber chen. Black her brows and beau ti ful.
colla parte
, ,
sub. dolcissimo, legatissimo
, P. III
colla parte
, ,
P. II, IV
C.cl.s.t. Tmb.s.t.
colla parte
colla parte
,
sub. dolcissimo, legatissimo
122
(Die anderen Freunde und die Frauen) 857
(The other friends and thir wives)
T. 8
aus! wine,
Und gib jetzt die Mit gift her aus! Toast the hap py mar ried cou ple,
Un ser jun ges Paar for our mar ried ones
braucht need
sehr ma
viel, ny
denn es things, they
s. Trin Drink
ke a
dein good
Gläs glass
chen of
aus, wine.
Und gib die To our pair
Mit drink
gift a
’raus! health!
Trin Drink
ke a
dein good
Gläs glass
chen of
aus, wine.
Und gib die To our pair
Mit drink
gift a
’raus! health!
a.
t. 8
P. I
P. II
P. III
126 2+3 860
3
3
3
(Psalmodierend) (intoned)
T. 8
will im eig nen Häus want to have a lit
chen le ben, tle house in
und die ses Häus creas ing their home,
chen A
soll ei ne Sau na ent hal ten. bath they will build for them selves there
Macht der Dampf dich auch You come and have a
3
B. in
...Und die ses Häus creas ing their home
chen stead.
8
P. I
8
P. II
8
P. III
sub. en dehors
P. IV
8
123
863
(Die Gäste) (The guests)
3
6
8
müd
T.
und
matt,
nach
her
fülst du dich wie Go 3
8
bath,
af
ter
wards
you
will
be
li
ath.
Da
rauf
3
heat
ed.
So
wol l’n wir wie der mal ei nen
trin ken!
6
did
our
married
pair be gin their hap py days to
ge ther.
B. PFui Now
Teu
fel! then,
Pfui now
t. 8
PFui Now
PFui
b.
3
Now
8
P. I
8
P. II
8
P. III
8
P. IV
124
(Der Bräutigam und die Braut küssen sich) 866
(The bride and groom embrace)
3
S. Gräß Drink
li to
ches Zeug! their health,
Trin Drink
ke a
dein gain,
Gläs toast
chen aus, the pair,
ches Zeug! their health,
Trin Drink
ke a
dein gain,
Gläs toast
chen aus, the pair,
3
M.s. Gräß Drink
li to 3
T. 8
Gräß Drink
li to
ches Zeug! their health,
Gib, die Drink a *
B. Teu fel! then?
So Drink
schlimm wird’s and toast
nicht our
sein. pair.
3
Gräß Drink
s.
li to
ches Zeug! their health,
Trin Drink
ke a
dein gain,
Gläs toast
chen aus, the pair,
ches Zeug! their health,
Trin Drink
ke a
dein gain,
Gläs toast
chen aus, the pair,
3
3
a. Gräß Drink
li to
t. 8
b.
Teu fel! then?
Teu fel!
then? 8
P. I
8
P. II
8
P. III
8
P. IV
C.cl.s.t. Tmb.s.t.
[* This bar may be sung falsetto.]
Mit-, gain,
125
127
869
S. gib die and em
Mit brace
gift raus! the two.
gib die and em
Mit brace
gift raus! the two.
M.s.
T. 8
gib die toast the
Mit pair,
gift raus! the pair.
e leggiermente
B. Die This
s.
gib die and em
Mit brace
gift raus! the two.
gib die and em
Mit brace
gift raus! the two.
da, one,
die da, this one,
a.
P. I
P. II
8b
P. III
P. IV
8b
C.cl.s.t. sempre forte e secco
Tmb.s.t.
Grosse-c. secco e
* Ghjbpyjcbnm% “qtnf”.
sempre
wä this
re one,
gar nicht schlecht, this is good,
für this
ein one
Ru bel chen e ven now
126
128
873
B. wär cost
sie a
mir recht. rou ble,
mei But
ne if
Ab sicht you
ist squeeze
rein it
mer kan til in your hand,
Ab sicht you
ist squeeze
rein it
mer kan til in your hand,
die trächt’ squeeze it
ge Kuh tight ly
bringt it
noch costs
mal so viel. dou ble that.
e leggiermente
b. mei But
ne if
...mal so viel. dou ble that.
P. II
8b
P. IV
8b
C.cl.s.t.
(sempre forte e secco)
Tmb.s.t. Grosse-c. (secco e
sempre)
878
(Die Freunde)
(Die Frauen)
(The friends)
(The women)
T. 8
Limm Now
lein the
auf ri
dem ver
Feld Vol
blöckt un ga o
schul ver
dig, flows.
Und And
der be
B. s. Schwie fore
a. t. 8
Die I
trächt’ don’t
ge Kuh care
bringt I
noch don’t
Lämm I
b.
mal so viel, care at all
lein hear
auf one
dem be
bringt though
Feld fore
blöckt un the gate,
noch it
mal so viel, costs as much.
schul
...mal so viel. I don’t care
...mal so viel. though it cost
P. I
8b 8
P. II
P. III
8b 8
P. IV
C.cl.s.t. Tmb.s.t. Grosse-c.
dig...
ger the
127
(Einer der Freunde)
129
(One of the friends)
881
S. „Ach, “Oh
lie mo
be Schwie ther dear,
ger my
mut ter, wo mo ther dear,
ist Na who calls
stja?” me?”
„Ach, “Oh
lie mo
be Schwie ther dear,
ger my
mut ter, wo mo ther dear,
ist Na who calls
stja?” me?”
M.s.
T. 8
Bist du denn ganz All you sil ly
B. „Ach, “Oh
lie mo
be Schwie ther dear,
ger my
mut ter, wo mo ther dear,
ist Na who calls
stja?” me?”
„Ach, “Oh
lie mo
be Schwie ther dear,
ger my
mut ter, wo mo ther dear,
ist Na who calls
stja?” me?”
„Ach, “Oh
lie mo
be Schwie ther dear,
ger my
mut ter, wo mo ther dear,
ist Na who calls
stja?” me?”
s. sohn ruft gate I
un ge hear one
dul cal
dig: ling,
a.
t. 8
b. Die I
trächt’ don’t
ge Kuh care
...Die I
trächt’ don’t
ge Kuh care
8
P. I
8b 8
P. II
8b 8
P. III
8b 8
P. IV
8b
(sempre forte e secco)
C.cl.s.t. Tmb.s.t.
Grosse-c. (secco e
sempre)
128
(Die Vermittler zu dem Paar, das das Bett wärmt)
(The marriage-broker to the couple who are warming the bed)
3
885
3
S. Sie My
will aus dem Kä fig. mo ther in law, dear.
3
3
M.s. Sie My
will aus dem Kä fig. mo ther in law, dear.
14
T. 8
blind? Aus dem Kind ist ei ner wach se nes Mäd chen ge worden. mai dens, tell me who the mai den was who ruled her true love?
3
3
jetzt Schluß mit dem
B.
3
Fei ern, geht end lich ins
3
(for the English)
Bett! 3
You sil ly mai dens
tell me who
was it ruled her true love?
min e’en
de five
s.
a.
b. bringt though
P. I
P. II
8b
P. III
P. IV
8b
C.cl.s.t. Tmb.s.t.
Cym. Grosse-c.
noch it
mal so viel costs as much,
bringt though
noch it
mal so viel, costs as much,
stens. rou bles.
129
(Die beiden, die das Bett angewärmt haben, kommen heraus. Man geleitet Fetis und Nastassja zum Bett. Sie legen sich hinein. Man läßt sie allein und schließt die Tür. Die beiden Eltern setzen sich vor die Tür auf eine Bank, ihnen gegenüber die Übrigen.) (Those who are warming the bed leave. Fetis and Nastasia are conducted to the bed and laid in it, after which they are left alone, and the door is shut.) 888
130
S. O du Hoch zeits bett, Love ly lit tle bed
schö ne where I
O du Hoch zeits bett, Love ly lit tle bed
schö ne where I
O du Hoch zeits bett, Love ly lit tle bed
schö ne where I
La lay
ger me
statt, down
O du glat Soft the pil
te schnee low where
wei ße I may
ger me
statt, down
O du glat Soft the pil
te schnee low where
wei ße I may
ger me
statt, down
O du glat Soft the pil
te schnee low where
wei ße I may
M.s.
s.
La lay
La lay
Die fe der How soft the
a.
leich pil
te, wei che low where I
Dek lay
ken my
hat! head,
O du where I
t. 8
O du Hoch zeits bett, Love ly lit tle bed
schö ne where I
La lay
ger me
statt, down
Die fe der leich How soft the pil
b.
O du glat Soft the pil
te, wei che low where I
Dek lay
ken my
sub.
P. II
sub.
wei ße I may
hat! head,
8
P. I
te schnee low where
8
8
8
8
8
gliss.
5 5
8
P. III
sub.
P. IV
sub.
gliss.
8
5 5
avec le genou genou
T.d.b.
C.cl.à.t. Tmb.à.t. ordinairement
Cym. Grosse-c.
130
3+2
892
131
S. Lin lay
nen pracht, my hand,
Die das Lie gen wahr Fold ed in the soft
haft
ge blan
nuß reich kets,
Die das Lie gen wahr Fold ed in the soft
haft
ge blan
nuß reich kets,
Die das Lie gen wahr Fold ed in the soft
haft
Die das Lie gen wahr Fold ed in the soft
haft
M.s.
T. 8
O küh le glat How soft the pil
te low
schnee where
wei now
ße Lin nen pracht, I lay my head.
B.
Lin lay
s.
a.
nen pracht, my hand,
Lin lay
nen pracht, my head,
Lin lay
nen pracht, my head,
O dug lat Soft the pil
te schnee low where
wei ße Lin I
lay
nen pracht, my head,
ge blan
nuß reich kets,
t. 8
b. wei ße Lin nen pracht, where I lay my head, 8
gliss.
P. I
8
8
8
8
8
8 5
P. II
5
8
gliss.
P. III
8
8
5
P. IV
*
5
Son réel
Cloche genou
T.d.b. *
Sons réels
8
Crot.
C.cl.à.t. Tmb.à.t. Cym. Grosse-c.
* 2 Crotales, 1 Cloche. Jouées par les musiciens du Xyloph. et des C.cl. & Tmb.s.t.
ge blan
nuß reich kets,
131
2+3
896
S. macht. warm.
M.s. macht. warm.
Ja, der ver lieb te The lit tle spar row
Taub’ makes
rich first
ge steht, his nest,
Taub’ makes
rich first
ge steht, his nest,
T. 8
Die das Lie gen wahr haft ge Fold ed in the blan kets, the
nuß blan
reich macht. kets warm.
B. Die ses See our
s.
macht. warm.
a.
macht. warm.
fin Fe
det tis
auch there
der Pam
Bräu fi
ti gam, lie vitch.
Ja, der ver lieb te The lit tle spar row
t. 8
macht. warm.
b. ...der Pam 8
P. I
P. II
8
P. III
P. IV
poco
Timb.
Cloche 8
Crot.
staccatissimo
Bräu fi
ti gam, lie vitch.
132
132 901
S. Jetzt, da er die Lieb Fe tis holds Nas ta
ste um fängt und zärt sia and kis ses her,
lich his
küßt, bride,
Jetzt, da er die Lieb Fe tis holds Nas ta
ste um fängt und zärt sia and kis ses her,
lich his
küßt, bride,
M.s. daß then
das takes
Fe then
tis takes his
Nest chen his mate
ge to
mä be
lich with
ist, him.
T. 8
mate
Pam to
fi be
ljitsch. with him.
Jetzt, da er die Kis ses her and
fausset
B.
s.
daß then
a.
das takes
Nest chen his mate
ge to
mä be
lich with
ist, him.
Jetzt, da er die Lieb Fe tis holds Nas ta
ste um fängt und zärt sia and kis ses her,
lich his
küßt, bride,
Jetzt, da er die Lieb Fe tis holds Nas ta
ste um fängt und zärt sia and kis ses her,
lich his
küßt, bride,
t. 8
Jetzt, da er die Kis ses her and
b. 8
P. I
P. II
8
P. III
P. IV
Timb. genou
T.d.b. C.cl.à.t. Tmb.à.t. Cym. Grosse-c.
133
905
S. Sei ne Holds her
Al ler lieb hand and lays
ste
um fängt und zärt it u pon
lich his
M.s.
T. 8
Lieb ste um fängt und holds in his hand her
zärt lich lit tle
küßt. hand.
Lieb ste um fängt und holds in his hand her
zärt lich küßt. Sei ne lit tle hand. Holds her
B. Lieb ste um hand and pres
ses
fängt und zärt it u pon
lich his
küßt. heart.
s.
Sei ne Holds her
Al ler lieb hand and lays
ste
um fängt und zärt it u pon
lich his
a.
Sei ne Holds her
Al ler lieb hand and lays
ste
um fängt und zärt it u pon
lich his
Sei ne Holds her
Al ler lieb hand and lays
ste
um fängt und zärt it u pon
lich his
8
t.
Lieb ste um fängt und holds in his hand her
zärt lich lit tle
küßt. hand.
Lieb ste um fängt und holds in his hand her
zärt lich küßt. lit tle hand.
8
b.
8
P. I
gliss.
8
5
P. II
5
8
P. III
P. IV
gliss.
8
5 5
genou
T.d.b. C.cl.à.t. Tmb.à.t. Cym. Grosse-c.
134
133 Meno mosso
909
= 80
S. küßt. heart.
M.s. T. 8
küßt. heart.
B. „O du mein Herz mein lie “Dear heart, lit tle wife,
küßt. heart.
bes Weib! my own
O dear
du mei ne est trea sure,
Au gen My sweet, my
küßt. heart.
s.
a. küßt. heart.
t. 8
küßt. heart.
b.
8
8
8
8
8
8
8
8
8
8
8
8
8
8
8
P. I
P. II
P. III
P. IV
Cloche
Crot.
916
B. wei ho
de, ney,
du mei Dear est
ner flow’r
Näch and
te trea
Zeit sure
ver of
treib, mine,
wir fair
wol est
len flow’r
glück sweet
lich est
sein, wife,
8
8
8
8
8
8
P. I, II P. III, IV
Cloche
Crot.
135
134 922
B. jetzt und Let us
je live
der in
zeit, hap
und pi
al ness
le so
Welt that
soll all
uns men
drum may
be en
nei vy
8
8
8
8
den.” us.”
P. I, II P. III, IV
Cloche
Crot.
928
(Der Vorhang fällt langsam während der folgenden Musik.) (The curtain falls slowly during the following music.)
135
B. 8
8
8
8
8
8
P. I, III
P. II, IV
Cloche
Crot.
935
8
8
8
, ,
P. I, III
8
8
8
, ,
P. II, IV
Cloche 8
8
8
Crot.
942
8
8
8
8
8
8
8
8
8
P. I, III
P. II, IV
Cloche
Crot.
L’instrumentation achevée à Monaco le 6 avril 1923 Engraved by New Notations London