Stravinsky LES NOCES (1923 Russian/French) by ScoresOnDemand

LES NOCES (Svadebka) Russian choreographic scenes with singing and music for voices, four pianos and percussion by

IGOR STRAVINSKY French text by

C.-F. Ramuz The 1923 version for four pianos, percussion and voices in a revised and corrected edition based upon relevant autograph and printed sources Edited by

Margarita Mazo Associate Editor

Millan Sachania

FULL SCORE

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CONTENTS

Igor Stravinsky’s Les Noces, the Rite of Passage

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

1 136

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

4 5 6

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.

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

7 8

9 10 11 12 13

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:

14 15

17 18 19 20 21

vii

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

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

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.

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

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

30 31 32 33

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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Igor Stravinsky’s Les Noces, the Rite of Passage

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

36 37

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

38 39 40 41

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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

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

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

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

Tableau

Length

Calculated GS

[Reh. No.] / Time

Episode

319"

198"

[16] / 211"

Climax of first tableau

315"

195"

[50] / 171"

Chant a cappella

[55] / 225"

Incantations

174"

107"

[80] / 108"

Departure to church

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.

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

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.

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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

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

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

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

•

• 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.

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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

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

in 2

struck out; replaced by

Editorial Policy and Filiation

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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 Chesterâ&#x20AC;&#x2122;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)

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

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

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

VS-2: no ff; here by analogy with bar 1

P1, P2, P3, P4

InS-5b: no ff; here by analogy with bar 1

41, 43, 44, 47, 49 P2, P4

InS-5b: no

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

xxxiii

xxxiv

Critical Commentary

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

P2, P4

InS-5b: come sopra; here >, sf, p sub. by analogy with bars 11, 52

P1, P3

InS-5b: no LH slur; here as in PR-2b (IS annotation)

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

VS-2: no 3/4; here as in InS-5b

MS, s, a, P1, P2, P3, P4

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),

VS-2: no ff; here by analogy with bar 1

P2, P4

InS-5b: no ff, here by analogy with bar 1; no and bar 1

86, 89

P2, P4

InS-5b: no

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

f is editorial

143, 151

f is editorial

151–52

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

>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

InS-5b: no e2 RH chord 1; here as in PR-2

160

C.cl.s.t.

ff is editorial reminder

161

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

f is editorial

170

f is editorial

170

> 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

ff is editorial

171

> to RH octave by analogy with bar 170

171

P2, P3, P4

InS-5b: fff sub.; here sub. omitted

171

InS-5b: no RH/LH >s to chord 1; here as in P2

172

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

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

mf is editorial

198

tre corde is editorial

203

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

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

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

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

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

InS-5b: p, not p sub.; here as in PR-2

268

mf is editorial

273

InS-5b: open slur from LH note 1; here omitted (see bar 264)

273

InS-5b: p, not p sub.; here as in PR-2

Critical Commentary

xxxvii

278

mf is editorial

278, 300

G.c.

(sempre poco sf) is editorial reminder from bar 273

284

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

mf is editorial

292

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

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

f is editorial

317

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

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

f is editorial

321

InS-5b: > to RH notes 1–5, followed by etc. marcatissimo; here as P3

324

InS-5b: no > to RH note 1; here as in bar 322

326

Triang.

InS-5b: no mf; here by analogy with Cym.

329

f is editorial

329

P2, P4

f is editorial

331

f is editorial

332

S, P2, P4

f is editorial

332

InS-5b: no ff; here by analogy with P1

333, 339

T.d.b.

• to note 2 is editorial

334

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

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

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

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

>s to RH/LH chords 2–6 from PR-2 and by analogy with P1, P3, P4

352

VS-2: p, not pp; here as in Prf-1 (IS annotation), PR-1, PR-2

355

InS-5b: no G# to LH chord 2; no Bb to LH chord 3; here as P2 (also cf. bar 359)

356

VS-2: no pp; here as in Prf-1 (IS annotation), PR-1, PR-2

356–57

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

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

VS-2: no pp; here as in PR-1, PR-2

360

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

InS-5b: meno f above RH quaver 2; here omitted

395

ff is editorial

399

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

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

p is editorial

415

p is editorial

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

InS-5b: LH note 1 is in square brackets, as here

419

G.c.

(mf secco) is editorial reminder

420

InS-5b: no fff sempre; here by analogy with P1, P2

421

ff is editorial (f in PR-1, PR-2)

422–23, 425–26

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

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

No f in VS-2; here by analogy with bar 421 (also in PR-1)

426–28

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

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

InS-5b: no

429, 431

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)

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

InS-5b: no •s; here by analogy with P1

430, 432

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

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

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

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

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

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

InS-5b: no dynamics; here by analogy with bar 503

505, 506

InS-5b: no >s; here by analogy with bars 503, 504

507

f is editorial

507

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

InS-5b: >s until and including bar 520 RH/LH chord 1 denoted by etc. simile at end of bar 515

516–18

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

InS-5b: no >s to RH, LH octaves, no > to LH octave 1; here by analogy with bars 515–18

520

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

VS-2: no ff; here by analogy with S, MS

534

VS-2: no ff; here as in PR-2

534

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

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

InS-5b: no RH/LH

560, 562, 564

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

VS-2: no lamentando; here as in Prf-1 (IS annotation), PR-1, PR-2. p is editorial.

580

VS-2: no lamentando, no p; here by analogy with S, bar 571

583, 596, 610

InS-5b: no p; here as in bar 571

588

P1, P3

(p) is editorial reminder

589, 603

InS-5b: no p; here as in bar 577

595–96

VS-2: no

597

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

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

ff is editorial

622

InS-5b: no > to LH c# 3; here as in bar 624

623

InS-5b: no b to b1 LH note 1; here by analogy with bar 625

624

InS-5b: no >s; here as in bar 622

624

InS-5b: no > to RH e2; here as in bar 622

624

Xyl.

InS-5b: no >s; here by analogy with bar 622

625

InS-5b: no

625

InS-5b: no > to LH note 4; here as in PR-2

627

InS-5b: no >s to RH f 4, LH f 1; here as in PR-2

627

InS-5b: no >s; here as in PR-2

628

S, MS, T, s, a, t

ff is editorial

628–30

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

628

InS-5b: no >s; no très sonore; here by analogy with P1

629–30

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

f e ben marcato is editorial

632

P1, P2, P3, P4

FS-5d: > to chords struck on RH/LH quaver 4 (IS annotation)

632

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

VS-2: no port.; here as in Prf-1 (annotations), PR-1, PR-2

637

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

InS-5b: no f; here as in bar 640

638, 639, 640

InS-5b: no LH >s; here as in PR-2

639–49

S, MS, B, s, a, t, b

dynamics are editorial

641–44

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

PR-2b: tenuto lines to notes 1, 2 (IS annotations)

645, 646

s, a, t

Tenuto lines are editorial

645

InS-5b: • to final RH chord; here as in PR-2

645

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

InS-5b: RH slur ends RH quaver 4; here as in PR-2

649

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

VS-2: no > to note 1; here as in Prf-1 (IS annotation), PR-1, PR-2

651

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

InS-5b: f 2, not g b 2, in RH chord 3; here as P1 and PR-2

653

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

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

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

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

InS-5b: no >s to RH/LH chord 1; here as in bar 670

673

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

VS-2: f; here ff in order to procure a reduction in the choral volume in bars 677, 678

675

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

VS-2: passage marked ad libitum; deleted in Prf-1 (IS annotation)

678

Timb.

InS-5b: no ; here as in PR-2

680

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

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

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

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

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

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

p is editorial

710–11

VS-2: no port., no slide line across bar line; here as in Prf-1 (IS annotation), PR-1, PR-2

710

InS-5b: no slur to demisemiquavers 1–12; here by analogy with bars 708, 709

710

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

InS-5b: ff; here f to match B in bar 711

711

VS-2: no colla parte; here as in PR-1, PR-2

711

f is editorial

711, 712

InS-5b: no >s; here as in P4

711, 712

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

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

VS-2: no f; here by analogy with T, B

719

InS-5b: no

719

C.cl.à.t.

f is editorial

721

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

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

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

InS-5b: no tenuto line; here as in PR-2b (IS annotation)

744, 746, 748

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

InS-5b: no RH slur over bar line; here by analogy with P2, P3

755–64

InS-5b: no •s; here as in P2, P3, P4

755

P1, P3

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

InS-5b: no sempre legatissimo; here by analogy with P2

756

P2, P4

763

‘- (a) -’ in Russian text to note 2 from the sketches, owing to the tenuto line to note 2

765

InS-5b: no s to LH notes 6, 7; here as in PR-2

767, 769, 772, 774, 775

VS-2: no >s; here as in Prf-1 (IS annotations), PR-1, PR-2

767

InS-5b: RH note 4 is dyad f 2, a2; here a2 in keeping with prevailing texture

782

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

f is editorial

794

InS-5b: no > to final RH dyad; here as in PR-2b (IS annotation)

794

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

InS-5b: no f; here by analogy with P4

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

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

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

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 to RH chord 4 erroneously to RH chord 5

843

InS-5b:

845

InS-5b: no >s to RH/LH notes 1–6; here by analogy with P1, P2, P4

845

Xyl.

f is editorial reminder

846

InS-5b: no

847

InS-5b: no § to g1 RH chord 7, no § to g LH chord 7

847

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

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

p is editorial

862

(En chantant) is editorial

862

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

ff is editorial

867

P2, P4

f is editorial

868

S, MS, s, a

f is editorial

868

P1, P3

f is editorial

870

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

(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

VS-2: no

879–82

S, MS, T, B, s, a, t, b

dynamics are editorial

879

VS-2: no b2 part; here as in Prf-1 (IS annotation), PR-1, PR-2

879

InS-5b: no s to RH dyads 1, 2; here as in PR-2

880

InS-5b: no > to RH chord 3; here by analogy with bar 870 ff.

880

InS-5b: no ff; here as in P4, bar 879

880

InS-5b: no s to RH dyads 1, 2; here as in PR-2; with bar 870 ff.

884

VS-2: no ff; here as in PR-1, PR-2

885, 886

S, MS

ff is editorial

886

VS-2: f; here editorial ff

886

s, a

ff is editorial

887

VS-2: no >s to notes 3, 4; here as in PR-2

887

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

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

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

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

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

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

As a in fAther.

As ch in peaCH.

As e in sEt. (For use after soft consonants indicated by an apostrophe, see Nota bene in Additional symbols.)

As ee in indEEd.

As g in Go.

No exact English equivalent; a thick back-throat sound, somewhat close to i in Ill or dIll.

As ch in BaCH in German, or j in José in Spanish.

As o in pOrt.

As oo in kangarOO.

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.

As ts in caTS.

As y at the end of daY or boY.

As ya in YArd. (For use after soft consonants indicated by an apostrophe, see Nota bene in Additional symbols.)

As ye in YEllow. (For use after soft consonants indicated by an apostrophe, see Nota bene in Additional symbols.)

As yo in YOga. (For use after soft consonants indicated by an apostrophe, see Nota bene in Additional symbols.)

As YOU or eau in bEAUtiful. (For use after soft consonants indicated by an apostrophe, see Nota bene in Additional symbols.)

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

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).

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

LES NOCES

CDFLT<RF XFCNM GTHDFZ

PREMIÈRE PARTIE

RFHNBYF GTHDFZ

PREMIER TABLEAU

E YTDTCNS

CHEZ LA MARIÉE

= 80

Igor Stravinsky

Soprano Solo Rj

Tres

se,

l’

tres

se,

me ya

rj...

ko...

sa me ya

tresse

moi,

z à

csym

sin’ ka

roo

ya!

tresse

moi!

Mezzo-Soprano Solo Ténor Solo 8

Basse Solo

CHŒUR

Soprano Alto Ténor 8

Basse 8

Piano I

sempre

Piano II

sempre

Piano III

sempre

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

1 Pfyfdtc – Rideau = 160

S. 1) Dt

xjh

chor

t’e

b’ya ko

1) Ma

mèr’

t’a

vait

2) Ct

r’e

br’ya

nim ke

2) Tresse,

elle

t’a

vait pei

1) V’e 2) S’e

,z rj

,hz

csym rf

too shka

soir tres

sée

soi gneu

ktx rjv

gnée

vec

sin’ ka

ysv rj

l’ech kem a

ne irf

gkz kf...

pl’ya la...

ne irf

ma un

ment,

kf...

too shka

vee la...

pei gne

d’ar gent,

= P. I, III

m.d.

= sub.

P. II, IV

secco

Cym. 2da volta tacet

* 2+3

!Ytdtcnf@

(La mariée) 21

= j

1) Ma

irf gkz kf...

t’a

vait tres sée!

too shka pl’ya la...

1) Elle

2) Vf

2) Ma

irf db

pau vre d’moi, pauvre

kf...

t’a

vait pei gnée!

irf db

t’a

vait pei gnée!

too shka vee la...

2) Elle

1) Vf

1) Ma

irf gkz kf...

t’a

vait tres sée!

too shka pl’ya la...

1) Elle

2) Vf

2) Ma

kf...

too shka vee la...

2) Elle

P. I, III

P. II, IV

[* 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’.)]

vyt!

core

u ne fois!

shche okh tee mn’e!

1) Vf

[j [j!

o kho kho! Ye

Pauvr’,

!Gjlhe;rb@

(Les amies de noces) = 80

mezza voce

3+2

Che soo, pe che soo Nas tas’ ee noo ko soo, Che

ce> gj

soo, pe che soo Tee me

ce> gj

ce Nb vj

f’e yev ni roo soo,

td ys he ce>

ye shche pe che soo,

xt ce>

tres

la tresse à

tresse on

pei

gne ra,

ce Yfc nfcm b

tresse, on tres se ra

tresse à

ye rj

Nas ta

ce>

sie,

Xt On

fé

iév na,

mezza voce

P. I

P. III

sub. meno

P. II, IV

sub. meno

C.cl.s.t. Tmb.s.t. C.cl.à.t. poco

sempre

3 29

3+2

M.s. F

kty ne

gkt ne.

loo

l’en too oo pl’e too.

vec

un beau ru ban rou

ge. sub.

s. f

ee ko soo za pl’e

gkt

puis

la tresse on

tres

ne>

Che

soo, pe che

ra,

tresse, on

too,

ce>

ce Yfc

soo Nas

tres se ra

nfcm

rj ce>

tresse

Nas

tas’ ee noo ko soo, Che sie,

sub.

a. 8

P. I

P. III

sub. meno

P. II, IV

C.cl.s.t. Tmb.s.t. C.cl.à.t.

sub. meno

3+2

s. ce>

Nb vj

tres

la tresse à

soo, pe che soo Tee me

ys he

ce>

na,

f’e yev ni roo soo, Che fé

iév

ce>

ko soo che soo, Chas tim

tres

ra,

pei

gne

ra bien,

soo pe che soo,

roo soo

ce>

Xfc nsv

tresse,

uht ,ytv hfc xt

ce.

gr’e bn’em ras che soo.

vec

pei gne fin.

P. I

P. III

sub. meno

P. II, IV

sub. meno

C.cl.s.t. Tmb.s.t. C.cl.à.t.

4 !Ytdtcnf@ (La mariée) Tempo I

= 80

S. Ghb t

Pree ye Un jour, 8

P. I

P. III

P. II, IV

Partie de Triang.

Xyl. (baguette en bois)

Cym.

cdf

itym

qui

est

kha la

sva shen’

n’e mee

vé?

C’est la

kjcn

df>

lest

lee

va,

xnj yt vb kjcn

shto n’e mee lest se,

mé chan te,

l’en

lee

Ee n’e zha se, la sans cœur,

= 160

S. kjcn

lest

lee

df!

va!

sans

tié.

com

cha men

csym

hdfnm

cé

fille

cer,

sin’ koo

rvat’

P. I, III

sub.

P. II, IV

Cym. secco

[

]

S. b

tresse

ee shchee

gfnm

pat’ ti

hdfnm

rer

Ee rer,

rvat’

s. Hdfnm

Rvat’ tresse

ob gfnm

ee shchee pat’ à

rer,

P. I, III

come sopra

sub.

P. II, IV

tress’,

ee shchee la

S. gfnm

pat’ cer

ldt

na la

fille,

puis

dv’e za

pl’e

gkt

nfnm

tress’ par

ger,

tat’

s. Yf

ldt

dv’e

gkt nfnm...

za pl’e tat’... par

ger...

a. 8

P. I, III

P. II, IV

2+3

= 80

S. J

[j [j!

o kho kho! Ye

Pauvr’,

nb vyt!

!Gjlhe;rb@

core

u ne fois!

(Les amies de noces)

shche okh tee mn’e!

pau vre d’moi, pauvre

mezza voce

s. Xt

ce> gj xt

ce Yfc nfcm b ye rj ce>

ce> gj xt ce

On tresse, on tres se ra la tresse à Nas ta sie,

tres se

Nb vj

Che soo, pe che soo Nas tas’ ee noo ko soo, Che soo pe che soo Tee me mezza voce

a. 8

P. I

P. III

sub. meno

P. II, IV

sub. meno

C.cl.s.t. Tmb.s.t. C.cl.à.t. poco

sub. meno

sempre

sub. meno

la tresse à

2+3

3+2

M.s. F

loo

l’en too oo pl’ya too,

kty ne e gkz ne>

,j /

vec

un beau ru ban rouge,

vec

un beau

loo bo yu

s. at td ys he ce>

Ti mo fé iév na,

f’e yev ni roo soo,

xt ce>

ee ko soo za pl’ya

tresse on

pei

gne ra

puis

la tresse on tres se

ye shche pe che soo,

b rj ce pf gkz

too,

ne>

,j /

ra,

vec

un beau

loo bo yu

a. 8

P. I

P. III

sub. meno

P. II, IV

sub. meno

C.cl.s.t. Tmb.s.t. C.cl.à.t.

!Ytdtcnf@

(La mariée) Tempo I = 80

9 = 120

S. Rj cf km

Ko sa l’

Ma tresse

moi,

csym rf

sin’ ka bel

roo

tresse

z...

ya... moi.

M.s.

p’e

r’e

dm/!

ban

bleu!

p’e

r’e

dm/!

v’yu!

N’e kleech,

ban

bleu!

Con

v’yu!

Yt rkbxm> so

p’e

r’e

dm/!

v’yu!

N’e kleech,

Yt rkbxm>

ban

bleu!

Con

P. I, III

m.d.

P. II, IV

Partie de Triang.

Xyl. (baguette en bois)

Cym. secco

n’e le

rkbxm

kleech

toi,

con

l’e so

rkbxm

kleech

toi,

con

l’e so

lei

b’yo doosh toi,

rf>

ka, pe

lei

b’yo doosh toi,

rf>

ka, pe

rkbxm d gj

n’e kleech v po tit

seau,

rkbxm d gj

n’e kleech v po tit

seau,

l’e

b’e

ya,

N’e

gkfxm

pleu

pas,

Nas

plach si’

l’e

b’e

ya,

n’e

gkfxm

pleu

pas,

Nas

;b>

Yfc

nfcm

tas’

shka,

ché

rie,

T’af

fli

pas,

n’e

plach si’

too zhi, Nas

irf>

n’e

too

;b>

Yfc

nfcm

tas’

shka,

ché

rie,

T’af

fli

pas,

zhi, Nas

irf>

P. I, III

P. II, IV

T. 8

Quand

mê

gkfxm

N’e

plach

pleu

pas,

gkfxm

N’e

plach

pleu

pas,

n’e groos

uhec

tee,

nb>

doo

pleu

pas,

mon

nb>

yf>

sha Tee

f’e

yev

na,

cœur, Ti

fé

iév

na.

n’e groos

uhec

tee,

doo

sha

Tee

f’e

yev

na,

yf>

pleu

pas,

mon

cœur,

fé

iév

na.

P. I, III

P. II, IV

T.d.b.

C.cl.à.t.

avec le pouce

ba me

3+2

103

T. 8

n/i

rt>

k’e,

t’en

vas,

t’yush tu

t’en

too

irt>

vas

là

bas,

shk’e,

B. gj

pe tu

t’en

too

irt>

shk’e,

Kak

Rfr

sv’e

cdt

rjh

kor

lee

vas

là

bas,

Ton

beau

pè

grom

kem

rjv

dmt dj

ros

gnol

chan te

uhjv

le v’ye ve

grom

kem

rjv

dmt dj

ros

gnol

chan te

le v’ye ve

le.

doo.

pour

toi.

le.

doo.

pour

toi.

poco meno

P. I, III

poco meno

P. II, IV

Timb.

109

S. E;

rfr

Oozh Et

cdtr hjdm

kak

sv’ek rov’ lee vra

vec

ma gard,

nei

vec

bon

nei

vec

bon

toosh ka a

r nt

ltn

té,

vec

ten

r nt

ltn

té,

vec

ten

k t’e

b’e boo d’et

B. ,f

ba t’ou

P. I, III

P. II, IV

Timb.

n/i

les

t’yush ka vri

r nt

k t’e bras

ltn

quand tu

vien

dras,

b’e boo d’et

kjc

mee Te

nkbd>

rfr

les

tleev,

kak

vra

cdtr hjdm

sv’ek rov’ lee a

vec

gard,

toosh ka a

k t’e b’e boo d’et

115

S. vb

kjc

dres

mee les

nkb

tlee

r nt

b’e boo d’et

ltn

zha

kjc

les

tlee

bel

mère

t’ai

ra.

k t’e

nkb

df.

va.

{dt

nbc>

Khv’e

tees,

soo

Sei

gneur

Fé

lfhm Gfv

dar’ Pam tis

Pam

abkm

feel’

ye veech

dbx

oo t’e

lié vitch,

bel

M.s. {dt

nbc>

Khv’e

tees,

soo

Sei

gneur

Fé

lfhm Gfv

dar’ Pam tis

Pam

abkm

feel’

ye veech

dbx

oo t’e

lié vitch,

bel

B. vb

kjc nkb

dres

mee

les tlee ta

r nt

ltn

bel

mère

k t’e b’e boo d’et

kjc nkb

t’ai

zha

les tlee

df.

va.

ra.

{dt

nbc>

Khv’e

tees,

soo

Sei

gneur

Fé

lfhm Gfv

dar’ Pam tis

Pam

abkm

feel’

ye veech

dbx

oo t’e

lié vitch,

bel

a. {dt

nbc>

tees,

soo

Sei

gneur

Fé

P. I

sempre staccatissimo

P. II

sempre staccatissimo

P. III

P. IV

sempre staccatissimo

Timb.

Khv’e

lfhm Gfv

dar’ Pam tis

Pam

abkm

feel’

ye veech

dbx

oo t’e

lié vitch,

bel

123

S. cj

v’ey ve sa doo,

dtq dj

arbre est

dans ton

jar din,

b’ya se

le>

rjv

Dans l’arbre

kem ros

t’e

r’e

gnol chan te,

ve> Df ds

cj rjv

moo, Va vi

so kem

pas

qu’il chante

N’est ce

fin

rhf

Ee zoo

kra

ity

shen

qu’ell’ soit con

yjv

nem ten

te;

M.s. cj

v’ey ve sa doo,

dtq dj

arbre est

dans ton

jar din,

b’ya se

v’ey ve sa doo,

dtq dj

arbre est

dans ton

jar din,

le>

rjv

Dans l’arbre

b’ya se

le>

kem ros

rjv

Dans l’arbre

kem ros

t’e

r’e

gnol chan te,

t’e

ve> Df ds

cj rjv

moo, Va vi

so kem

pas

qu’il chante

N’est ce

ve> Df ds

cj rjv

r’e moo, Va vi

gnol chan te,

N’est ce

so kem

pas

qu’il chante

rhf

Ee zoo

kra

ity

shen

qu’ell’ soit con

rhf

Ee zoo

kra

ity

shen

qu’ell’ soit con

yjv

nem ten

te;

yjv

nem ten

te;

unis.

a. cj

v’ey ve sa doo,

dtq dj

arbre est

dans ton

jar din,

b’ya se

le>

rjv

Dans l’arbre

kem ros

t’e

r’e

gnol chan te,

ve> Df ds

cj rjv

moo, Va vi

so kem

pas

qu’il chante

N’est ce

rhf

Ee zoo

kra

ity

shen

qu’ell’ soit con

yjv

nem ten

P. I, II

P. III

P. IV

133

S. Lt

xtr

D’e

n’yo

chek

Chan

tant

cdbc

nuit,

cdbc

nuit,

cdbc

nuit,

cdbc

nuit,

on svees

teet

nbn

ee vs’yu

dc/

no chen’

xtym

jour,

lui

chan

tant

là

haut

koo ses

=n.

kb>

yot.

T’e

b’ya

lee,

t’e

mours.

C’est

pour

toi,

Nas

M.s. Lt

xtr

n’yo

chek

Chan

tant

D’e

xtr

D’e

n’yo

chek

Chan

tant

on svees

teet

nbn

ee vs’yu

dc/

no chen’

xtym

jour,

lui

chan

tant

là

haut

nbn

koo

teet

ee vs’yu

dc/

no chen’

xtym

jour,

lui

chan

tant

là

haut

ses

kb>

yot.

T’e

b’ya

lee,

t’e

mours.

C’est

pour

toi,

Nas

koo

=n.

kb>

yot.

T’e

b’ya

lee,

t’e

mours.

C’est

pour

toi,

Nas

a. Lt

P. I

P. II

P. III

P. IV

xtr

D’e

n’yo

chek

Chan

tant

on svees

teet

nbn

ee vs’yu

dc/

no chen’

xtym

jour,

lui

chan

tant

là

haut

koo ses

=n.

kb>

yot.

T’e

b’ya

lee,

t’e

mours.

C’est

pour

toi,

Nas

te;

141

S. ,z

b’ya ta

si’

lee

Nas

Yfc

nfcm

fé

iév

tas’ yush

t’e

b’ya

na,

C’est

pour

kb>

toi

cdtn

lee,

sv’et

Tee

f’e

yev

qu’il

chante

qu’il

chan

noo ra,

,fd

Za chan

bav te

M.s. ,z

b’ya ta

si’

lee

Nas

Yfc

nfcm

fé

iév

tas’ yush

t’e

b’ya

na,

C’est

pour

kb>

toi

cdtn

lee,

sv’et

Tee

f’e

yev

noo

qu’il

chante

qu’il

chan

ra,

,fd

Za chan

bav te

T. 8

t’e pour

,z km> cdtn

b’ya l’, sv’et Tee toi

f’e

fé

iév

yev noo

b’ya ta

si’

T’e b’ya

lee

Nas

Yfc

nfcm

tas’

yush koo,

re>

C’est

pour

toi,

Nas

si’,

lee

Nas

Yfc

nfcm

fé

iév

tas’ yush

t’e

b’ya

na,

C’est

pour

kb>

toi

cdtn

lee,

sv’et

Tee

f’e

yev

qu’il

chante

qu’il

chan

noo ra,

,fd

Za chan

bav te

a. ,z

b’ya ta

si’

lee

Nas

Yfc

nfcm

fé

iév

tas’ yush

P. I

P. II

P. III

P. IV

t’e

b’ya

na,

C’est

pour

kb>

toi

cdtn

lee,

sv’et

Tee

f’e

yev

qu’il

chante

qu’il

chan

noo ra,

,fd

Za chan

bav te

147

S. kz

plus

bell’

plus

bell’

l’ya

yet oo

t’e

sha

chan

son

tn>

cgfnm

ljk

dol

n’e m’e

sha

yet

toi,

Dor

mir

lais

ra,

pour

tn>

cgfnm

ljk

dol

n’e m’e

sha

yet

toi,

Dor

mir

lais

ra,

pour

yet, spat’ pour

,tl

yzv hfp

messe

ré

,tl

yzv hfp

messe

ré

veil

k e b’ed n’yam

,tl

yzv

hfp

Dor

mir

lais

ra.

k e b’ed n’yam

,tl

yzv

hfp

Dor

mir

lais

ra.

b’ed n’yam raz boo te

tn.

zha

veil

yet.

ra.

M.s.

l’ya

yet oo

t’e chan

sha son

yet, spat’ pour

b’ed n’yam raz

boo

tn.

zha

yet.

ra.

T. 8

raz

tn.

boo zha

yet.

B. ...pf

,fd

...za

bav

l’ya

yet

...sa

plus

bell’

chan

son

plus

bell’

plus

bell’

l’ya

yet oo

t’e chan

pour

sha son

t’e sha

yet

toi,

ljk

spat’

pour

dol

messe

ré

veil

n’e m’e sha

tn>

yet,

tn>

cgfnm

ljk

dol

n’e m’e

sha

yet

toi,

Dor

mir

lais

ra,

pour

tn>

cgfnm

ljk

dol

n’e m’e

sha

yet

toi,

Dor

mir

lais

ra,

pour

yet, spat’ pour

cgfnm

ra,

,tl

yzv hfp

messe

,tl

yzv hfp

messe

b’ed n’yam raz te

boo ré

raz

yet.

tn.

zha

veil

tn.

boo zha

yet.

ra.

l’ya

yet oo

t’e chan

sha son

yet, spat’ pour

b’ed n’yam raz te

boo ré

tn.

zha

veil

yet.

ra.

P. I

P. II

gliss

P. III

gliss.

P. IV

* avec le pouce

T.d.b.

signifie frôler la membrane avec le pouce.

153

S. Hfq>

hfq!

Ray,

ray!

Va,

va!

oo chan te,

lf ksq

da liy pe

tit

crj

ske oi

me ro shek

itr

s s’e

c ct

seau, chan

Chante,

te,

seau,

sur

kf>

la.

Ray,

ray!

bran

che,

Va,

va!

kf>

la.

Ray,

ray!

bran

che,

Va,

va!

kf>

la.

Ray,

ray!

bran

che,

Va,

va!

kf>

la.

Ray,

ray!

bran

che,

Va,

va!

kf>

la.

Ray,

Hfq>

hfq!

bran

che,

Va,

va!

kf>

la.

Ray,

Hfq>

hfq!

bran

che,

Va,

va!

s’e ta

Hfq>

hfq!

M.s. Hfq>

hfq!

Ray,

ray!

Va,

va!

oo chan te,

lf ksq

da liy pe

tit

crj

ske oi

me ro shek

itr

s s’e

c ct

seau, chan

Chante,

te,

seau,

sur

s’e ta

Hfq>

hfq!

T. 8

Hfq>

hfq!

Ray,

ray!

Va,

va!

oo chan te,

lf ksq

da liy pe

tit

crj

ske oi

me ro shek

itr

s s’e

c ct

seau, chan

Chante,

te,

seau,

sur

s’e ta

Hfq>

hfq!

Ray,

Hfq>

ray!

s s’e

c ct

Va,

va!

Chante,

Hfq>

hfq!

Ray,

ray!

Va,

va!

oo chan te,

lf ksq

da liy pe

tit

crj

ske oi

itr

me ro shek

s s’e

c ct

seau, chan

Chante,

te,

seau,

sur

s’e ta

seau,

sur

s’e ta

Hfq>

hfq!

ray!

a. Hfq>

hfq!

Ray,

ray!

Va,

va!

oo chan te,

lf ksq

da liy pe

tit

crj

ske oi

me ro shek

itr

s s’e

c ct

seau, chan

Chante,

te,

seau,

sur

s’e ta

ray!

t. 8

Ray,

Hfq>

ray!

hfq!

Ray,

Hfq>

hfq!

Va,

va!

Va,

va!

ray!

b. Hfq>

hfq!

Hfq>

ray!

Ray,

ray!

Va,

va!

Va,

va!

P. I

gliss.

P. II

gliss.

P. III

P. IV

T.d.b. C.cl.s.t. Tmb.s.t. Tmb.à.t. [ordinairement]

Cym. Grosse-c.

hfq!

Ray,

3+2

159

S. Xnj, yf

if Yfc

nfcm

si’

Shtob na sha Nas Nas

tas’

ten

te,

ten

te,

xnj, ,s

yush ka con

shtob bi

com mence et

v’e

kf>

la,

Ray!

men

ce,

Va!

kf>

la,

Ray!

men

ce,

Va!

kf>

la,

Ray!

men

ce,

Va!

s’e com

Hfq!

M.s. Xnj, yf

if Yfc

nfcm

si’

Shtob na sha Nas Nas

tas’

xnj, ,s

yush ka con

shtob bi

com mence et

v’e

s’e com

Hfq!

T. 8

xnj, ,s

shtob bi

com mence et

v’e

s’e com

Hfq!

sub.

B. E; xnj, ,s

Oozh shtob bi Et

Xnj, yf

if Yfc

nfcm

si’

Shtob na sha Nas Nas

tas’

ten

te,

ten

te,

xnj, ,s

yush ka con

shtob bi

com mence et

v’e

kf>

la,

Ray!

men

ce,

Va!

kf>

men

ce,

s’e com

que tout

Hfq!

a. Xnj, yf

if Yfc

nfcm

si’

Shtob na sha Nas Nas

tas’

xnj, ,s

yush ka con

shtob bi

com mence et

v’e

s’e la, com

Hfq!

Ray! Va!

t. 8

Hfq!

Ray! Va!

b. Hfq!

Ray! Va! 8

P. I

sub.

P. II

sub.

P. III

sub.

P. IV

sub.

Timb. secco

T.d.b. C.cl.s.t.

lui

soit

dctu lf.

vs’eg da. di

man che.

18 165

3+2

S. C gjl rf

vei

S ped ka moosh ka De

dans

B. C gjl rf

vei

S ped ka moosh ka De

dans

la mousse

c gjl

ruis

s ped b’e

df...

ve...

seau coul’,

molto

b. C gjl rf

vei

rf...

mouss’,

S ped ka moosh ka... De

dans

P. I

P. II

sempre

P. III

P. IV

sempre

senza Ped.

Timb.

C.cl.s.t. Tmb.s.t.

Grosse-c.

la mousse

C gjl

ruis

S ped b’e

seau coule,

che

yok

est

roo

b’e nu

là,

;bn

zhit

170

S. he

roo on

b’e

zhit.

S ped

moosh

s ped

b’e

s’est

sis

là,

rit,

boit

tam

bour

bat.

;bn.

s’est

sis

là,

che yok

;bn.

C gjl

M.s. he

roo on

che yok

b’e

zhit.

B. C gjl

vei

rit,

boit,

S ped ka moosh ka

P. I

P. II

P. III

P. IV

Timb.

Triang.

C.cl.s.t. Tmb.s.t.

Grosse-c.

s ped

c gjl

b’e

df...

tam

bour

bat.

ve...

vei

c gjl

175

tsim

wbv

mee

,m/n>

b’yut,

p’yut

gm/n

km/n

d nf

v ta

r’el

kee

b’yut.

flûte

joue

tout’

qui

tournent

tous

qui

s’poussent.

l’yut

htk

,m/n.

M.s.

tsim

wbv

mee

,m/n>

b’yut,

gm/n

p’yut

km/n

d nf

v ta

r’el

htk

,m/n.

flûte

joue

tout’

qui

tournent

tous

qui

s’poussent.

l’yut

kee b’yut.

P. I

P. II

P. III

P. IV

Triang.

20 178

unis.

3+2

s. Djn> pyfnm

Vot, znat’ No

tre

shoo

Yfc n/i

Nas t’yush koo, znat’

re>

pyfnm

Nas

si’,

mée

pour

bien

ses

noces

shoo Tee

yev

noo k v’en

est

née, Nous

f’e

ye r dty

xf ym/ dt

len.

est

née.

xf ym/ dt

len.

est

née.

cha n’yu v’e doot. a

a. r dty

k v’en Nous

P. I

P. II

P. III

P. IV

T.d.b.

cha n’yu v’e doot. a

!Ytdtcnf b vfnm@ 21 (La fiancée et la mère) = 80

183

S. Pf...

Za...

za pl’e tee tke mn’e roo

gkt

nrj

vyt

Tres

sez

moi

tres

comme

lb r yfv e

soo

T. 8

Ght

Pr’e

cnf

chee

Dai

gne,

sta

dai

nthm>

ble

mère

gne

très

[fnm

t’er’, khe dee k nam oo

khat’

trer dans notr’ chau

cdf

euse

sva

miè

khe pe me

P. I

etc. sim.

P. II

una corda

P. III

P. IV 8b

una corda = m.dr.,

= m.g.

C.cl.s.t. sempre

Tmb.s.t. 2 bag. molles

Cym. sempre

190

S. ce

eez ko rn’yu too go

faut,

que

ça

soit

ser

ré

[fnm

soo

Oozh

hy/ ne

[jym

dans

rj>

Cht lb

khen’

ke,

Sr’e dee

haut,

Pas au

T. 8

ufnm.

gat’.

Khe

dee,

lb>

der;

Dai

gne,

dai

khe

r yfv

dee

gne

k nam

euse

Cdf [t

khat’

der

ufnm>

fai

re,

Sva khe pe me gat’,

la tresse

dé

ce hfc gkt

tres

soo ras pl’e dé

nou

P. I

P. II

P. III

P. IV

C.cl.s.t. 3

Tmb.s.t.

Cym.

197

S. rj

tant

m’e

l’yo

[jym

rj>

gjl

ytw

dans

lieu,

vec

bout

khen’

ke,

ped

n’ets

T. 8

nfnm.

tat’.

cnf

er,

cm/i rb

sta

Nas

s’yush kee

blon

cm/i rb

ce>

si’

ce>

si’

soo, Tee de,

Nas

me la

blon

de,

Qui

de,

Qui

B. Yf

cnf

sta

Nas

s’yush kee

soo, Tee

blon

de,

Nas

me la

blon

P. I

P. II

P. III

P. IV

tre corde

C.cl.s.t. 3

Tmb.s.t.

Cym.

24 =

204

(80)

S. f

loo

l’en

kty

chkoo.

xre.

beau

ban

bleu.

roo

er.

roo

er.

T. 8

f’e

yev

ce.

soo.

B. at

f’e

yev

ce.

soo.

!Gjlhe;rb@

(Les amies de la mariée) mezza voce

s. Xt

Che soo, pe che soo Nas tas’ ee noo ko soo, Che

ce>

soo, pe che soo Tee me

ce>

tres

la tresse

tresse, on tress’

ce Yfc

nfcm

ce>

tresse

Nas

sie,

a. mezza voce

P. I

sub. meno

P. II

sub. meno

tre corde

sub. meno

P. III

sub. meno

P. IV

C.cl.s.t. 3

Tmb.s.t.

C.cl.à.t. poco

Cym.

sub. meno

sempre

sub. meno

vj à

209

3+2

S. E;

Oozh Un

beau

l’en

kty

ban

bleu,

beau

f’e

yev

fé

ce>

iév

na,

roo soo,

shche pe

Yfc

nfcm

tas’

noo

soo,

tres

core

cho soo Nas

ce>

shche pe

fois,

bas

haut,

cho soo Tee me

P. I

P. III

sub. meno

P. II, IV

sub. meno

C.cl.s.t. Tmb.s.t. C.cl.à.t.

3+2 2

213

l’en

kty

tech

njx

rf>

l’en

kty

boo

k’e

ban

rouge,

ban

rou

comm’

mes

ka,

piena voce

f’e

yev

haut

ce>

bas

roo soo,

tresse

pei

ye shche pe

ce>

soo

pl’e

too

gne

ra,

Puis

tresse

tres

che soo,

gkt

loo

vec

piena voce

a. 8

P. I

8b 8

P. III

sub. meno

P. II, IV

C.cl.s.t. Tmb.s.t. C.cl.à.t.

sub. meno

26 217

3+2

S. df

ban

Boo

joues,

mezza voce

k’e

s. kty

beau

l’en too

gkt

ne>

pl’e too,

ban rouge.

Che

soo, pe

ce>

che soo Nas

Yfc

nfcm

tas’

noo

soo,

ce>

Che

soo, pe

ce>

tresse,

tress’

tresse

Nas

sie,

tres

tresse

che soo Tee

me à

a. mezza voce

P. I

P. III

sub. meno

P. II, IV

sub. meno

C.cl.s.t. Tmb.s.t. C.cl.à.t.

221

S. df>

va,

fee

bleu,

bleu

df...

mes

yeux.

l’e

com

va...

f’e

yev

fé

ce>

Che

soo, pe

ce>

iév

na,

tresse

roo soo,

ce>

roo

soo

pei

gne

ra,

che soo,

ce>

Xfc

nsv

pei

gne

bien

soo cho soo,

Chas tim

uht, ytv

hfc

gr’eb n’em ras vec

pei

ce.

gne

fin.

che soo.

P. I

P. III

sub. meno

P. II, IV

sub. meno

C.cl.s.t. Tmb.s.t. C.cl.à.t.

attacca subito

DEUXIÈME TABLEAU

E :TYB{F

CHEZ LE MARIÉ

= 120

225

RFHNBYF DNJHFZ

Ght xbc

3+2 nf

Pr’e chees ta

Daigne, ai

Vfnm

Mat’

ble

mèr’,

lb>

daigne

trer

lb>

daigne

trer

lb r yfv

khe dee, khe dee k nam oo dans

chau

khat’, sva

[fnm>

cdf

khe

ufnm

mièr’,

dai

gne

nous

der

gat’

lhb

hfc

les

boucles

lhb

hfc

les

boucles

koo dree ras

che dé

Ght xbc

Pr’e chees ta

Daigne, ai

Vfnm

Mat’

ble

mèr’,

lb r yfv

khe dee, khe dee k nam oo dans

chau

khat’, sva

[fnm>

cdf

khe

ufnm

mièr’,

dai

gne

nous

der

gat’

koo dree ras

che dé

P. I, III

P. II, IV

C.cl.à.t.

229

2+3+2

3+2

T. 8

{dt nbcm

boucl’ du

Khv’e tees’ ye les

rel hb>

Gfv

vi kood ree,

Pam

rié.

les

abkm

boucl’ du

bou

clé,

cs.

feel’ ee cha roo si.

= {dt nbcm

boucl’ du

Khv’e tees’ ye les

rel hb>

Gfv

vi kood ree, rié.

Pam les

sub.

abkm

boucl’ du

bou

clé,

cs.

feel’ ee cha roo si.

sub.

= 8

cfnm>

{dt nbcm

boucl’ du

sat’, Khv’e tees’ ye

fair’,

les

rel hb>

vi kood ree, rié.

rel

hfc

Dai

gne

dé

xt cfnm>

kood ree ras che sat’, mê

ler

Gfv

Pam les

abkm

boucl’ du

bou

clé,

cs.

feel’ ee cha roo si.

sub.

lb>

tre

lb r yfv e

Khe dee, khe dee k nam oo Mèr’ dans

chau

sub.

= 8

sub.

= cfnm> b.

{dt nbcm

boucl’ du

sat’, Khv’e tees’ ye

fair’,

les

rel hb>

vi kood ree, rié.

rel

hfc

Dai

gne

dé

xt cfnm>

kood ree ras che sat’, sub.

mê

ler

Gfv

Pam les

abkm

boucl’ du

bou

clé,

feel’ ee cha roo

cs.

si.

lb>

tre

lb r yfv e

Khe dee, khe dee k nam oo Mèr’ dans

chau

sub.

= = P. I

= = P. III

= = P. II, IV

= C.cl.à.t.

3+2

233

T. 8

Xtv

cfnm>

xtv

vec

quoi

qu’on

Chem che sat’, chem

vfc

kbnm lf

pei

gne

mas

{dt

leet’ da Khv’e ra

les

tees’

bou

cles

Fé

Xtv

vec

nbcm

koo

Chem che

= 8

[fnm> [j

lb r yfv e [fnm

khat’, khe dee k nam oo khat’ mièr’, Dai gne

nous

der

rel hb hfc xt cfnm.

kood ree ras che sat’. les boucles à

dé fair’.

= 8

= [fnm> [j

lb r yfv e [fnm

khat’, khe dee k nam oo khat’

mièr’, Dai gne

nous

der

rel hb hfc xt cfnm.

kood ree ras che sat’. les boucles à

dé fair’.

= P. I, III

= P. II, IV

T.d.b.

C.cl.s.t.

= baguettes en bois

Tmb.s.t.

C.cl.à.t.

= baguette en bois

Cym.

238

T. 8

!e@

lhb*

(é)

tis?

(oo)

dree?

B. cfnm>

xtv

vfc

kbnm

leet’

Pam

fee

l’ee

cha

roo

!e@

quoi

qu’on

lus

tre

les

bou

cles

Pam

sat’, chem mas

Gfv

kmb

(oo)

!e@

cs*

lié

vitch?

(oo)

si?

= 8

{j lb>

lb r yfv e

Khe dee, khe dee k nam oo

Daigne en

trer dans

chau

= 8

= {j lb>

lb r yfv e

Khe dee, khe dee k nam oo

Daigne en

trer dans

chau

= P. I, III

sub.

= sub.

P. II, IV

secco

Timb.

T.d.b.

C.cl.s.t.

Tmb.s.t.

C.cl.à.t.

sub.

étouffez

Cym.

243

3+2

Kee n’em s’ya, bro

ytv

cz>

,hj

see

Vite,

mis,

tons

vcz> dj

ms’ya ve

nous dans

nhb

tree les

= 8

[fnm>

[j lb r yfv

e [fnm

khat’, khe dee k nam oo khat’ mièr’, Daigne ai

Cdf [t

re lhb hfc xt cfnm.

gj vj ufnm>

Sva khe pe me gat’,

ble mèr’

ma rieuse ai

koo dree ras che sat’.

der

les boucles à

dé fair’.

= [fnm>

[j lb r yfv

e [fnm

khat’, khe dee k nam oo khat’

mièr’, Daigne ai

Cdf [t

gj vj ufnm>

re lhb hfc xt cfnm.

Sva khe pe me gat’,

ble mèr’

ma rieuse ai

koo dree ras che sat’.

der

les boucles à

dé fair’.

= = P. I, III

= P. II, IV

C.cl.à.t.

Cym.

248

T. 8

gbv

vs>

là

bas,

Koo peem

mi,

gbv

là

bas

koo peem

van

ske

!f@

ckf>

bou

teil

d’huile

(on)

dfy

crf

(a)

sla,

B. njh trois

!j@

lf>

chés

vil

le;

tor

mar

(o)

da,

Hfp

Raz a

itv>

hfp

raz

mas

vec

quoi

fai

che shem,

P. I, III

P. II, IV

Timb.

T.d.b. C.cl.s.t. Tmb.s.t. C.cl.à.t. Tmb.à.t.

vfc

kbv

{dt

bril

ler

les

l’eem Khv’e tee

253

T. 8

Raz

Hfp

che

shem,

itv>

hfp

raz

mas

vfc

kbv

leem Pam

Gfv

fee

l’ee

kmb

cha

roo

(oo)

!e@

(oo)

!e@

cs!

vec

quoi

fai

bril

ler

les

bou

cles

é.

boucl’

si!

!e@

lhb!

koo

(oo)

dree!

bou

(ou)

clé?

ancora più

P. I, III

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

T. 8

Khe Les

= 8

Ght xbc nf

z Vfnm>

[j lb> [j lb r yfv e

[fnm> Cdf [t gj vj ufnm

Pr’e chees ta ya Mat’,

khe dee, khe dee k nam oo khat’, Sva khe pe me gat’

Daigne ai

daigne en

ma ble mèr’,

trer dans

chau mièr’, Dai gne nous ai der

rel hb hfc xt cfnm.

kood ree ras che sat’. les boucles à

dé fair’,

= 8

= Ght xbc nf

z Vfnm>

[j lb> [j lb r yfv e

[fnm> Cdf [t gj vj ufnm

Pr’e chees ta ya Mat’,

khe dee, khe dee k nam oo khat’, Sva khe pe me gat’

Daigne ai

daigne en

ma ble mèr’,

trer dans

chau mièr’, Dai gne nous ai der

rel hb hfc xt cfnm.

kood ree ras che sat’. les boucles à

dé fair’,

= 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.

= =

lb>

boucles

lb r yfv

dé

re,

dee, khe dee k nam oo fai

Meno mosso

!Jntw@

= 104

263

(Le père)

M.s. Db

xjh

Hier

soir,

Vee

hier soir

chor

sa vee

cho

roo

ltk {dt

nbc

see d’el Khv’e tees ve Fé

tis

tait dans sa

tee mai

T. 8

khat’

[fnm

kood

rel

ree

hfc

ras

che

sat’!

cfnm!

See

d’el

ltk

les

boucles

dé

mê

ler!

Pei

gnait

sub.

P. I

sempre legatiss.

P. III

P. II, IV

Xyl.

T.d.b. C.cl.s.t. Tmb.s.t. C.cl.à.t.

36 !Hjlbntkb gj-jxthtlb@ (Les parents tour à tour)

269

M.s. ht

r’e

ve.

moo.

son.

ke à

qui

moo tes

vous

kood ree des

rel hb ljc

nf yb

ta nee

t’es’?

pré

sent, bel les

bou cles

blondes?

T. 8

eePam fee

b Gfv ab

l’eech

che sal roo

xt cfk he

cs re

ses che

blonds,

fai sait le

beau gar

veux

kmbx

si koo

lhb.

dree.

legatiss.

çon.

P. I

arraché

P. II

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

ntcm*

278

M.s. Jq>

Oy, Et

qui

moo tes

vous

rhfc yjq lt

cs lj

roo si de

pré

sent, bel

les

cnf yb

ntcm*

sta nee

t’es’?

bou cles

rondes,

Ds rj ve

Vi ke moo à

qui

les

cs lj

roo si de

boucles,

qui

B. Lj

cnf

De A

sta

n’e t’es’ koo dree kras ney d’e

yt ntcm re

lhb

vee tse

aux joues rou

ges

qui va

la fille

qui

db wt

un nom

P. I, III

arraché

arraché arraché

arraché

P. II

arraché

P. IV

Timb. C.cl.s.t. Tmb.s.t. Tmb.à.t.

Grosse-c. (sempre poco

)

285

S. ...Ns gj

ktq he

...Ti pe l’e Les

l’ey roo

bou cles

M.s. cnf

gar

sta n’e

ntcm*

çon?

t’es’? Oozh

Yfc

n/i

t’yush

Nas

lors,

vois

pe l’e

ktq rel

l’ey kood soi

gne

hb>

ree, les.

B. Xnj Yfc

nfcm

com me

Nas

Shto Nas

tas’

si’

Tee me

f’e mo

iév

na.

yev n’e fé

[legatiss.]

P. I, III

[legatiss.]

arraché

P. II

arraché

P. IV

Timb. C.cl.s.t. Tmb.s.t. Tmb.à.t.

Grosse-c.

bou

cs!

si! clé

292

S. Ns

Tee

yev

l’e

l’ey roo

ktq he

cs.

si.

Oozh

clé

aus

si,

soi

gne

le bou

clé.

f’e

bou

vee

bou

cles

kbcm> gj

lees’,pe du bou

M.s. Ns gj kt

ktq he

Ti pe l’e O,

l’ey roo

bou

cs!

si!

clé!

T. 8

Rdfc>

xnj

Kvas,

shto

Dans

lee

kvass

aux fram

ne ye d’e s’yat’ yu na

lt cznm

lee va (a)n

!f@y

boi

ses

gne

est

trem

pé.

pei

B. E;

Oozh O,

vee

bou

P. I, III

arraché

P. II

arraché

P. IV

Timb. (sempre poco

)

(sempre poco

)

(sempre poco

)

(sempre poco

)

C.cl.s.t. Tmb.s.t.

Tmb.à.t.

Grosse-c.

cles

kbcm> gj

lees’,pe du bou

300

S. db

kbcm

vee

lees’

clé,

faut

{dt nb

na Khv’e tee

voir

com

lhb>

soo koo

dree,

vee

vous bou

clez,

Faut

kbcm>

lees’,

voir

com

kbcm

vous

fri

sez,

ô,

pe vee me

lees’

Gfv ab kmb

Pam f’e l’ee fri

son

M.s.

vee

la eekh

ma too

pau

vre

mè

qui

irf>

shka, fri

tout

Za vee sait

B. db

kbcm

vee

lees’

clé,

faut

voir

{dt nb

na Khv’e tee com

lhb>

soo koo

dree,

vee

vous bou

clez,

Faut

kbcm>

lees’,

voir

com

kbcm

vous

fri

sez,

ô,

pe vee me

lees’

Gfv ab kmb

Pam f’e l’ee fri

[legatiss.]

P. I, III

[legatiss.]

arraché

P. II

arraché

P. IV

Timb.

C.cl.s.t. Tmb.s.t.

Tmb.à.t.

Grosse-c. (sempre poco

)

son

40 Poco più mosso

307

= 112

S. xe

fri

sé!

choo roo

cs.

si.

M.s. Lf ghb uj

df hb

kf%

fri sant, se

men

tait:

Da pree ge

va ree

la:

T. 8

Lf ghb uj

df hb

kf%

fri sant, se

men

tait:

Cher

Da pree ge

va ree

la:

B’e

le ee

fant

roo né

m’ya de

B. xe

fri

sé!

choo roo

cs.

si.

s. „<elm

„Bood’ „Mon

fils,

nzn rj ,t

me ye dee t’yat ke b’e mon cher

fils

que j’ai

kj he vz

yj>

le roo m’ya

ne,

por

mois,

té neuf

P. I, III

arraché

P. II

P. IV

Timb.

, Xyl.

C.cl.s.t. Tmb.s.t.

Tmb.à.t.

Grosse-c.

34 315

T. 8

ne.

yj.

lee

ree

moi;

une

tre

t’ai

ra,

B. Vf

lee

cnb

une

tre

stee

fri

s. he

n’e oo

Voi

là

qu’à

pré

sent

une

roo m’ya ne

xkb

ro au

tre

dj!”

chlee

ve!”

t’au

ra,

P. I

meno

P. II

P. III

meno

P. IV

Xyl.

41 Tempo I 321

= 120

!:tyobys@ (Les femmes)

S. Yf

rjv

lhb

qui

les

bou

kom koo dree

kom

roo

ya?

Na Khv’e tee

{dt

lhb

cles

les

bell’

blon

des,

les

bien

dé

mê

lé

es,

les

B. kj

ra!” 8 marcatissimo

P. I

non

P. II

staccato leggiero 8

P. III

marcatissimo

P. IV

staccato leggiero

T.d.b. poco

Cym. Grosse-c.

simile

(ordinairement)

rjv

soo koo dree

roo bien

ya,

ron

des,

325

S. yf

Gfv

Les

na Pam

abkm

feel’ bien

hfc

les

bien

ee choo pe lus

trées,

ras

cfy

che

san soi

gnées, les

ya,

hfc

bien

ras

cfy

pil

lot

che san

tées,

hfp

boo

ma zhen ni

;ty

les

bien

ran

raz

P. I

P. II

P. III

P. IV

T.d.b. Triang.

Cym. Grosse-c.

329

S. z.

ya. gées!

M.s. e

vyf

L’ont

fait

mna

ve doux,

B. Cgf kfnm>

Spa lat’, 8

Gloi

cgf

kfnm

tsoo

t’e

ree

khe

re,

hon

neur

aux

rents,

pè

spa

P. I

P. II

P. III

P. IV

Solo

Timb. (non

T.d.b.

Cym. Grosse-c.

ma marcato e secco)

lat’

nwe

sho

dee

t’ya

djc

ves

dee

mère

ont

bien

fait

l’en

332

S. nt>

rel

k me

moo

lee

bien

dre,

boucl’

blon

des,

tout

l’en

tour

pev

uj>

pru

dent,

Ghb

l’e

gay

Tom

bez

sage

Pree

ufq

t’e, kood ree

roo

r vj

tsoo

moo,

vant.

b’e par

ve>

M.s.

ra zoom na

ve,

pe fier,

rjh

kor ne

ckj

dyf

rai

son

nable

Ghb

kay, doo

toi,

slo

uj.

vne

ve.

bé

sant.

rfq>

Nas

siouch ka,

T. 8

Pree

sha

Yfc

Nas

ta ha

cm/i

rf>

tue

toi

s’yush ka, bi

B. kb

fant,

Par

lee

P. I

P. II

P. III

P. IV

Timb.

Xyl.

T.d.b. simile

C.cl.s.t. Tmb.s.t. sempre

Cym. Grosse-c.

336

S. r vj

k me toi,

Nas

moo

sie,

tue

toi

zoo

moo

shto

xnj

,sxm /

gail

lard

qu’on

est

mê

rel

hzv les

bich yu

ltw

d’ets

ça

con

vient

dplb

fil

les

lui

M.s. F

d Vjc

v Mes

Par

rdt d Vjc

kv’e v Mes tout,

par

rdt

kv’e tout

même

Mos

ntv

t’em

kood r’yam vzdee

cou,

Tou

tes

lee sautent

T. 8

r vj

k me

moo

zoo

moo

shto

xnj

,sxm /

gail

lard

qu’on

est

gail

lard

qu’on

est

mê

rel

hzv les

bich yu

ltw

d’ets

ça

con

vient

dplb

fil

les

lui

B. F

tout,

d Vjc

v Mes

par

rdt d Vjc

kv’e v Mes tout,

par

rdt

kv’e tout

même

Mos

ntv

t’em

kood r’yam vzdee

cou,

Tou

tes

lee sautent

s. lf

gail

shto

xnj

,sxm /

lard

qu’on

est

mê

bich yu me

me ça

ltw

d’ets

con

vient

t. 8

par

P. I

P. II

P. III

P. IV

Timb.

Xyl. più

T.d.b. C.cl.s.t. Tmb.s.t.

Cym. Grosse-c.

d Vjc

v Mes

rdt d Vjc

kv’e v Mes tout,

par

gail

rdt

shto

xnj

,sxm /

lard

qu’on

est

mê

rel

hzv

tes

les

kv’e tout

même

Mos

ntv

t’em cou

bich yu

ltw

d’ets

ça

con

vient

dplb

fil

les

lui

kood r’yam vzdee tou

lee sautent

340

3+2

S. ve.

moo. pas.

M.s. cz.

sya. cou.

T. 8

ve.

...{dt

pas.

...les

cz.

...{dt

cou.

...les

moo.

Khv’e

sya.

Khv’e

s. ve.

moo. pas.

ve.

moo. pas.

sub.

Pr’e chees ta

Ght xbc

Vfnm>

Daigne, ai

ble

mè

Mat’,

lb>

lb r yfv e

khe dee, khe dee k nam oo re, daigne en

trer dans

chau

[fnm> cdf

mièr’, Dai

ufnm

gne nous

der

[fnm> cdf

ufnm

mièr’, Dai

gne nous

der

[fnm> cdf

ufnm

mièr’, Dai

gne nous

der

khat’, sva khe pe me

gat’

rel hb

hfc

xt cfnm> {dt

kood ree ras che sat’ Khv’e les boucles à

dé

fair’,

les

sub.

ve.

moo.

pas.

Pr’e chees ta

Ght xbc

Vfnm>

Daigne, ai

ble

mè

Mat’,

lb>

lb r yfv e

khe dee, khe dee k nam oo re, daigne en

trer dans

chau

khat’, sva khe pe me

gat’

rel hb

hfc

xt cfnm> {dt

kood ree ras che sat’ Khv’e les boucles à

dé

fair’,

les

sub.

cz.

sya.

Pr’e chees ta

Ght xbc

Vfnm>

cou.

Daigne, ai

ble

mè

sub.

P. I

sub.

P. II

sub.

P. III

sub.

P. IV

sub.

Timb.

Xyl. T.d.b. C.cl.s.t. Tmb.s.t. C.cl.à.t. Tmb.à.t. Cym. Grosse-c.

sub.

Mat’,

lb>

lb r yfv e

khe dee, khe dee k nam oo re, daigne en

trer dans

chau

khat’, sva khe pe me

gat’

rel hb

hfc

xt cfnm> {dt

kood ree ras che sat’ Khv’e les boucles à

dé

fair’,

les

344

3+2

3+3

T. 8

nbcm t

ds rel hb>

boucl’ du

tees’ ye

Gfv

vi koo dree,

Pam

rié,

les

ab kmb xf he cs.

fee l’ee cha roo si. boucl’ du bou

clé.

B. nbcm t

ds rel hb>

boucl’ du

tees’ ye

Gfv

vi koo dree,

Pam

rié,

les

ab kmb xf he cs.

fee l’ee cha roo si. boucl’ du bou

clé.

sub.

= nbcm t

ds rel hb>

boucl’ du

tees’ ye

vi koo dree, rié,

re lhb hfc xt cfnm> Gfv

koo dree ras che sat’, Pam Dai gne

dé

mê

ler

les

ab kmb xf he cs.

fee l’ee cha roo si. boucl’ du bou

clé.

sub.

{j lb> [j lb r yfv e

[fnm> [j

Khe dee,khe dee k nam oo

lb r yfv e

[fnm

khat’, khe dee k namoo khat’

En tre, mèr’, dans la chau

mièr’, Dai gne nous ai

der

[fnm> [j

[fnm

sub.

= 8

nbcm t

ds rel hb>

boucl’ du

tees’ ye

vi koo dree, rié,

re lhb hfc xt cfnm> Gfv

koo dree ras che sat’, Pam Dai gne

dé

mê

ler

les

ab kmb xf he cs.

fee l’ee cha roo si. boucl’ du bou

clé.

sub.

{j lb> [j lb r yfv e

Khe dee,khe dee k nam oo

lb r yfv e

khat’, khe dee k namoo khat’

En tre, mèr’, dans la chau

mièr’, Dai gne nous ai

der

[fnm> [j

[fnm

sub.

= 8

sub.

b. nbcm t

ds rel hb>

boucl’ du

tees’ ye

vi koo dree, rié,

re lhb hfc xt cfnm> Gfv

koo dree ras che sat’, Pam Dai gne

dé

mê

ler

les

ab kmb xf he cs.

fee l’ee cha roo si. boucl’ du bou

clé.

{j lb> [j lb r yfv e

Khe dee,khe dee k nam oo En tre, mèr’, dans la chau

mièr’, Dai gne nous ai

= P. I

sub.

= P. III

sub.

= P. II, IV

sub.

lb r yfv e

khat’, khe dee k namoo khat’

sub.

C.cl.à.t.

Tmb.à.t.

der

349

46 2+2+3

3+2

, 3+2

S. B

Ee Sain

ns Vf nthm <j !j@;m

ti Ma t’er’ Bo (o)zh ya te

mè

re,

sois

bon

ne,

viens, Sain te

!j@

mère

per

!j@

mère

per

!j@

mère

per

!j@

mère

per

!j@

mère

per

Be (e) ge

ro dee cha son

ne,

M.s. B

Ee Sain

ns Vf nthm <j !j@;m

ti Ma t’er’ Bo (o)zh ya te

mè

re,

sois

bon

ne,

viens, Sain te

Be (e) ge

ro dee cha son

ne,

T. 8

Ee Sain

ns Vf nthm <j !j@;m

ti Ma t’er’ Bo (o)zh ya te

mè

re,

sois

bon

ne,

viens, Sain te

Be (e) ge

ro dee cha son

ne,

s. B

Ee Sain

rel hb hfc xt cfnm.

koo dree ras che sat’.

les boucles à

dé fair’.

Ee Sain

ns Vf nthm <j !j@;m

ti Ma t’er’ Bo (o)zh ya te

mè

re,

sois

bon

ns Vf nthm <j !j@;m

ne,

ti Ma t’er’ Bo (o)zh ya te

mè

re,

sois

bon

ne,

viens, Sain te

Be (e) ge

ro dee cha son

ne,

ro dee cha son

ne,

, ,

rel hb hfc xt cfnm.

koo dree ras che sat’.

les boucles à

dé fair’.

Ee Sain

ns Vf nthm <j !j@;m

ti Ma t’er’ Bo (o)zh ya te

mè

re,

sois

bon

ne,

viens, Sain te

!j@

mère

per

Be (e) ge

ro dee cha son

ne,

rel hb hfc xt cfnm.

koo dree ras che sat’. les boucles à

dé fair’.

Viens

sub.

P. I

più

P. II

più

P. III

più

P. IV

più

Timb. C.cl.s.t. Tmb.s.t. C.cl.à.t. Tmb.à.t.

Grosse-c.

!j@lm

cdflm

,e>

vec

nous,

Po (o)d’ na

svad’ boo,

47 3+2

353

, (3+2)

S. B

Très

Sain

dct

!j@c

mè

Jé

sus

Christ,

vs’e mee te

Po (o)s te

vb!

le mee!

, M.s. B

Très

Sain

dct

!j@c

mè

Jé

sus

Christ,

vs’e mee te

Po (o)s te

vb!

le mee!

, T. 8

Très

Sain

dct

!j@c

mè

Jé

sus

Christ,

vs’e mee te

Po (o)s te

vb!

le mee!

, s. B

Très

Sain

dct

!j@c

mè

Jé

sus

Christ,

vs’e mee te

Po (o)s te

vb!

le mee!

, t. 8

gjlm

pod’

cdflm

,e.

viens

vec

nous:

Très

Sain

dct

!j@c

mè

Jé

sus

Christ,

vs’e mee te

Po (o)s te

vb!

le mee!

svad’ boo.

Viens

sub.

P. I

più

P. II

più

P. III

più

P. IV

più

Timb. C.cl.s.t. Tmb.s.t. Tmb.à.t.

Grosse-c.

!j@lm

(o)d’

cdflm

,e>

vec

nous,

svad’ boo,

pod’

gjlm

cdflm

,e.

viens

vec

nous.

svad’ boo.

48 358

49 3+2

3+2

S. B

dct

vs’e

les

c fy

tres,

les Anges aus

si,

c fy

mee pô

s an

vb!

g’e l’ya mee!

<jc kj

Bes le

Dieu nous

;f>

bé

nis

se,

;f>

bé

nis

se,

;f>

bé

nis

se,

;f>

bé

nis

se,

;f>

bé

nis

se,

;f>

bé

nis

se,

vee Bo zha,

M.s. B

dct

vs’e

les

pô

mee

s an

tres,

les Anges aus

si,

c fy

vb!

g’e l’ya mee!

<jc kj

Bes le

Dieu nous

vee Bo zha,

T. 8

dct

vs’e

les

pô

mee

s an

tres,

les Anges aus

si,

c fy

vb!

g’e l’ya mee!

<jc kj

Bes le

Dieu nous

vee Bo zha,

s. B

dct

vs’e

les

pô

dct

vs’e

les

mee

s an

tres,

les Anges aus

si,

c fy

pô

vb!

g’e l’ya mee!

mee

s an

tres,

les Anges aus

si,

c fy

<jc kj

Bes le

Dieu nous

vb!

g’e l’ya mee!

<jc kj

Bes le

, ,

Dieu nous

vee Bo zha,

t. 8

dct

vs’e

les

pô

mee

s an

tres,

les Anges aus

si,

vb!

<jc kj

g’e l’ya mee!

Bes le

Dieu nous

Viens

!j@lm

(o)d’

cdflm

,e>

vec

nous,

svad’ boo,

pod’

gjlm

cdflm

,e.

viens

vec

nous.

vee Bo zha,

svad’ boo.

sub.

P. I

più

P. II

più

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

3+2

363

S. <jc kj

Bes le

Dieu nous

;f>

bé

nisse

vee Bo zha,

;eym

son

Fils,

Bo zhoon’

!j@lm

(o)d’

Viens

cdflm

,e>

vec

nous,

gjlm

svad’ boo,

pod’

cdflm

,e>

viens

vec

nous,

svad’ boo,

pod’

gjlm

cdflm

,e!

viens

vec

nous.

svad’ boo!

M.s. <jc kj

Bes le

Dieu nous

;f>

bé

nisse

vee Bo zha,

;eym

son

Fils,

Bo zhoon’

!j@lm

(o)d’

Viens

cdflm

,e>

vec

nous,

gjlm

svad’ boo,

pod’

cdflm

,e>

viens

vec

nous,

svad’ boo,

pod’

gjlm

cdflm

,e!

viens

vec

nous.

svad’ boo!

T. 8

<jc kj

Bes le

Dieu nous

;f>

bé

nisse

vee Bo zha,

;eym

son

Fils,

Bo zhoon’

!j@lm

(o)d’

Viens

cdflm

,e>

vec

nous,

gjlm

svad’ boo,

pod’

cdflm

,e>

viens

vec

nous,

svad’ boo,

pod’

gjlm

cdflm

,e!

viens

vec

nous.

svad’ boo!

s. <jc kj

Bes le

Dieu nous

;f>

bé

nisse

vee Bo zha,

;eym

son

Fils,

Bo zhoon’

!j@lm

(o)d’

Viens

cdflm

,e>

vec

nous,

gjlm

svad’ boo,

pod’

cdflm

,e>

viens

vec

nous,

svad’ boo,

pod’

gjlm

cdflm

,e!

viens

vec

nous.

svad’ boo!

= <jc kj

Bes le

Dieu nous

;f>

bé

nisse

vee Bo zha,

;eym

son

Fils,

Bo zhoon’

!j@lm

(o)d’

Viens

cdflm

,e>

vec

nous,

gjlm

svad’ boo,

pod’

cdflm

,e>

viens

vec

nous,

svad’ boo,

pod’

gjlm

cdflm

,e!

viens

vec

nous.

svad’ boo!

= = 8

<jc kj

Bes le

Dieu nous

;f>

bé

nisse

vee Bo zha,

;eym

son

Fils,

Bo zhoon’

Viens

!j@lm

(o)d’

cdflm

,e>

vec

nous,

gjlm

svad’ boo,

= 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

= =

pod’

cdflm

,e>

viens

vec

nous,

svad’ boo,

pod’

gjlm

cdflm

,e!

viens

vec

nous.

svad’ boo!

:tyb[

50 Le marié =

368

= 80

ma sonore

Meno mosso

B. <j ckj

Be sle vee Et

vous, père

t’e

ntxm

c vf

mè

re,

bé

nis

t’e

e t’ech

mè

t’ech

hm/

s ma t’e

r’yu sez

cdf dj wf

sve vo tsa

doo

votre en fant

cnjkm ye

Qui

s’ap

uhf le ghb cne gbnm

stol’ noo

gra doo pree stoo peet’

pro

che

fiè

ment

rf vty ye

cnt

ye hfp

ka men noo st’e noo raz tou

rail le ren ver

ma sonore

une basse profonde du chœur

<j ckj

Be sle vee Et

vous, père

j ntxm

c vf

s ma

re,

bé

nt hm/ cdf dj wf

t’e r’yu sve vo tsa doo nis sez

votre en fant

cnjkm

stol’

noo

Qui

s’ap

pro

uhf le ghb cne gbnm

gra doo pree stoo peet’ che

fiè

ment

rf vty ye

cnt

ye hfp

ka men noo st’e noo raz tou

rail le ren ver

52 Più mosso

= 375

Tempo I

Più mosso

S. ...Ult

Là

où

...Ult

Là

où

...Gd’e see

lbn

nfv {dt

nbc

trou ve

lbn

nfv {dt

nbc

trou ve

deet tam Khv’e

tees sei

soo

lfhm.

gneur

Fé

tis,

dar’.

Nfr

cdt

Là

aus

Nfr

cdt

Là

aus

Tak sv’e

xtq

cdt

les

chey

nbr

sv’e

teek cier

ges,

M.s.

...Gd’e see

deet tam Khv’e

tees sei

soo

lfhm.

gneur

Fé

tis,

dar’.

Tak sv’e

xtq

chey si

cdt

nbr

sv’e les

teek cier

ges,

B. ,bnm

Cdj

Sve

yu soo

sant.

Pour

beet’

/ ce

zhe

vir

ye / gj

yznm

mise,

noo yu pe pro

n’yat’

s. ...Ult

Là

où

Gd’e see

lbn

nfv {dt

nbc

trou ve

deet tam Khv’e

tees sei

soo

lfhm.

gneur

Fé

tis,

dar’.

Nfr

cdt

Là

aus

Tak sv’e

a. basse profonde ,bnm

Cdj

Sve

yu soo

sant.

Pour

beet’

P. I

P. II

P. III

P. IV

Partie de T.d.b.

Timb. baguettes de Triang.

Triang. Cym.

/ ce

vir

zhe

ye / gj

yznm

mise,

noo yu pe pro

n’yat’

xtq

chey si

cdt

nbr

sv’e les

teek cier

ges,

Tempo I

Più mosso

382

S. yfq

ltn.

nay les

<j ;mz

d’et. cier

ges

Bo zhya

brillent.

là

vb kjcnm <j

l’at

mee lest’ Be ge tre Da

ro dee

xf!

cha!

tend.

, M.s. yfq

ltn.

nay les

<j ;mz

d’et. cier

ges

Bo zhya

brillent.

là

vb kjcnm <j

l’at

mee lest’ Be ge tre Da

ro dee

xf!

cha!

tend.

, B. D cj ,jh xth

rjdm

Qu’il en

dans

V se bor cher tre

kev’

c[j lbnm> Ct ht ,hzy

rhtcn gj wt kj

skhe deet’,S’e r’e br’yan kr’est pe tse le l’eg

lise

et qu’il bai

la croix d’ar

dfnm.

vat’. gent,

, s. yfq

ltn.

nay les

<j ;mz

d’et. cier

ges

Bo zhya

brillent.

là

vb kjcnm <j

l’at

mee lest’ Be ge tre Da

ro dee tend.

xf!

cha!

basse profonde D cj ,jh xth

P. I

P. II

P. III

P. IV

Timb.

Triang. Cym.

rjdm

V se bor cher

kev’

Qu’il en

dans

tre

c[j lbnm> Ct ht ,hzy

rhtcn gj wt kj

skhe deet’,S’e r’e br’yan kr’est pe tse le l’eg

lise

et qu’il bai

la croix d’ar

dfnm.

vat’. gent,

53 !Gthdsq lhe;rj@

(Le premier ami de noces)

389

S. <j

ckj

Be Bé

nis

sle

vee

sez

tous

M.s. <j

ckj

Be Bé

nis

sle

vee

sez

tous

B. Cvj

Sme Rô

nhtkm ob

rb> ukz ltkm

rb>

tr’el’ shchee kee, gl’ya d’el’shchee kee, deurs de

rou

te,

traî

neurs de

Et vous tous

les

z’e va kee ee pieds,

gf kji ys

pas grand’ chose,frères, ar

pa losh ni

ke l’yu ba

rb>

kee, vez,

s. <j

ckj

Be Bé

nis

vee

sez

tous

P. I

tremolo

très rythmé et bien martelé

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.)

sle

394

S. nt

nrj dct ryz pz

dj ,hfi yf

t’e tke v’se kn’ya z’ya no

vo brash ne

jeu

prin

qui

nrj dct ryz pz

er,

dj ,hfi yf

M.s. nt

t’e tke v’se kn’ya z’ya no

vo brash ne

jeu

prin

qui

ve er,

B. D genm lj

V put’ de Pour qu’il

ro se

;tym re

zhen’ koo ye mette heu reus’

ment

route,

kha

s. nt

nrj dct ryz pz

dj ,hfi yf

t’e tke v’se kn’ya z’ya no jeu

prin

qui

ve brash ne ma

ve er,

P. I

P. II

P. III

P. IV

Timb.

Xyl.

Triang. Cym.

Tmb.s.t.

Tmb.à.t.

Cym. Grosse-c.

tee

soo Pren

qui

lui

zhe ne ce

!Dct@ 55 (Tout le monde)

399

3+2

2+3

S. Gjl Sous

Ped

njq

v’e

nets

cou

ron

d’or

vien

toy

ytw

cnj se

znm.

Jq!

ste

yat’.

Oy!

pla

cer.

Hoï!

M.s. Gjl Sous

Ped

njq

ytw

cou

ron

d’or

vien

toy

v’e

cnj

nets se

znm.

Jq!

ste

yat’.

Oy!

pla

cer.

Hoï!

T. Jq!

Oy! Hoï!

B. hz

r’a

zhe

est

des

dpznm

né.

Jq!

ne vz’yat’

Oy! Hoï!

s. Gjl sous

Ped

njq

ytw

cou

ron

d’or

vien

toy

v’e

cnj

nets se

znm.

Jq!

ste

yat’.

Oy!

pla

cer.

Hoï!

Jq!

Oy!

L’e b’e

Hoï!

Com me

plu

me tombe et

plu

me tombe et

dee ne ye p’e ro

la fleur pli

oo pe da

Jq!

Oy!

L’e b’e

Hoï!

Com me

P. I

P. II

P. III

P. IV

Timb. secco

Xyl. Triang. Cym. C.cl.s.t. Tmb.s.t. Tmb.à.t.

Cym. Grosse-c.

dee ne ye p’e ro

reprenez le T.d.b.

la fleur pli

oo pe da

404

2+3

3+2

56 2+3

2+3

van

dfy

kj!

le!

van

dfy

kj!

fleur

pli

tomb’

plu

me.

le!

M.s.

van

dfy

kj!

le!

van

dfy

kj!

fleur

pli

tomb’

plu

me.

le!

T. 8

van

dfy

kj!

le!

van

dfy

kj!

fleur

pli

tomb’

plu

me.

le!

van

dfy

kj!

le!

van

dfy

kj!

fleur

pli

tomb’

plu

me.

le!

van

dfy

kj!

le!

van

dfy

kj!

fleur

pli

tomb’

plu

me.

le!

van

dfy

kj!

fleur

pli

le!

P’e r’ed t’e r’e mem oo

Gt htl

van

kj!

le!

pe dal Khv’e

lfk {dt

pli

tom

be,

tomb’

plume.

Ain

vant son

vjv

fleur, La

plu

dfy

van

dfy

kj!

fleur

pli

le!

P. I

P’e r’ed t’e r’e mem oo

Gt htl

van

kj!

le!

pe dal Khv’e

lfk {dt

pli

tom

be,

tomb’

plume.

Ain

vant son

vjv

fleur, La

plu

dfy

sub.

P. III

P. II, IV

Timb. .

gliss

Xyl.

T.d.b. C.cl.s.t. Tmb.s.t. Tmb.à.t.

Cym. Grosse-c.

(bois)

57 409

3+2

S. e

Ain

lfk Gfv

dal Pam

fee l’eech p’e r’ed

ab kmbx

htl

vant

mè

les

hj lyjq

re dnoy

noux

ne irjq

ma too shkey a

pli

és:

M.s. e

Ain

lfk Gfv

dal Pam

fee l’eech p’e r’ed

ab kmbx

htl

vant

mè

les

s. Ain

lfk Gfv

dal Pam

fee l’eech p’e r’ed

ab kmbx

htl

vant

mè

les

hj lyjq

re dnoy

noux

hj lyjq

re dnoy

noux

ne irjq

ma too shkey a

pli

és:

ne irjq

ma too shkey a

pli

és:

a. e

Ain

nbc

htl

pè

re,

nbc

htl

pè

re,

hj lysv

tees p’e r’ed red nim

s’est

lais

lfk Gfv

dal Pam

fee l’eech p’e r’ed

ab kmbx

htl

vant

mè

les

n/i rjq>

t’yush key,

sé

tom

ber,

hj lyjq

re dnoy

noux

ne irjq

ma too shkey a

pli

Ghj cbn

Pro seet Il

és:

ee dit:

Bé

nis

Bé

nis

m’e n’e

ckj

sle

vee

sez

votre

fant

pour

hj lysv

tees p’e r’ed red nim s’est

lais

n/i rjq>

t’yush key,

sé

tom

P. I

P. III

P. II, IV

Timb.

ber,

Ghj cbn

Pro seet Il

ee dit:

m’e n’e

ckj

sle

vee

sez

votre

fant

pour

414

3+2

S. ...r cdz

...Sous

...k sv’ya

dty

gar

moo v’en

xfym

chan’ s’en

we.

ail

le,

ee tsoo.

M.s. ...r cdz

...Sous

...k sv’ya

dty

gar

moo v’en

xfym

chan’ s’en

we.

ail

le,

ee tsoo.

= ...r cdz

...Sous

...k sv’ya

dty

gar

moo v’en

xfym

chan’ s’en

we.

ail

le,

ee tsoo.

= = ...r cdz

...Sous

...k sv’ya

dty

gar

moo v’en

xfym

chan’ s’en

we.

ail

le,

ee tsoo.

= = 8

;m/

qu’il

s’en

ail

Bo zhyu

soo le

doo

sous

l’œil

nb>

Dieu,

khe tee,

r cdz

Sous

k sv’ya

dty

gar

moo v’en

xfym

chan’ s’en

we.

ail

le,

ee tsoo.

Rfr

ghb

dtk

<ju

gjl

rhtc

aus

des

saints

s’en

Rfr

ghb

dtk

<ju

gjl

rhtc

aus

des

saints

s’en

Kak pree v’el Bog ped kr’es

= 8

= b.

;m/

qu’il

s’en

ail

Bo zhyu

soo le

doo

sous

l’œil

nb>

Dieu,

khe tee,

r cdz

Sous

k sv’ya

dty

gar

moo v’en

xfym

chan’ s’en

we.

ail

le,

ee tsoo.

Kak pree v’el Bog ped kr’es

= 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.à.t.

= =

Cym. Grosse-c.

= secco

419

S. ...b

nfr ,s

...ee tak bi

...en mar che

gjl dty

wjv.

der rière

eux.

ped v’en tsom.

Repm ve

Ltvm

Saint Da

mien

Kooz’ moo D’em’

M.s. T. 8

ckf

Bo Sei

sle

gneur

Dieu,

vee bé

dct

fn cnf

nous tous

du plus

grand

t’e nis

vs’e

at sta

ve da au

!f@

ma (a) le plus

df.

ve.

tit,

B. <j

Bo Sei

...b

nfr ,s

...ee tak bi

...en mar che

...b

nfr ,s

...ee tak bi

...en mar che

njv

nfr ,s

tom

ee tak bi

aille

en mar che

gjl dty

wjv.

der rière

eux.

gjl dty

wjv.

der rière

eux.

gjl dty

wjv.

der rière

eux.

gjl dty

wjv.

der rière

eux.

gneur

ckj

vee

t’e

Dieu, bé

nis

nous tous,

sle

dct

vs’e

ped v’en tsom.

Repm ve

Ltvm

Saint Da

mien

Repm ve

Ltvm

Saint Da

mien

Kooz’ moo D’em’

ped v’en tsom.

Kooz’ moo D’em’

ped v’en tsom.

njv

nfr ,s

tom

ee tak bi

aille

en mar che

ped v’en tsom.

P. I

P. II

sempre

8b 8

P. III

sempre

P. IV

mi muta in mi ré muta in do

Timb.

Xyl. gliss.

trillo

T.d.b.

baguettes de Triang.

Triang. Cym. C.cl.s.t. Tmb.s.t. C.cl.à.t. Tmb.à.t. Cym. Grosse-c. (

secco)

424

S. z

nous

cs uhfnm.

nisse

aus

cs uhfnm.

noo bé

si grat’.

cnj

kmrj

l’ke

zhe

nam sva

yfv

cdf

Com

l’as

fait

pour

cnj

kmrj

l’ke

zhe

nam

yfv

cdf

Com

l’as

fait

pour

si,

sto

lm,e csu

hfnm.

nos

rents.

d’boo sig pa

rat’.

M.s. z

nous

noo bé

nisse

si grat’.

aus

si,

sto

sva

lm,e csu

hfnm.

nos

rents.

d’boo sig pa

rat’.

T. 8

<jc

Bas Sei

vee

gneur, bé

Bo nis

zha nous

lde[

tous, nous,

hj; l=y

de dvookh pe rezh d’yon la

noce,

B. lj

lde[

hj; l=y

tous, nous,

cnj

kmrj

l’ke

zhe

yfv

cdf

Com

l’as

fait

pour

de dvookh pe rezh d’yon noce,

s. z

nous

cs uhfnm.

nisse

aus

noo bé

si grat’.

si,

sto

P. I

P. II

P. III

P. IV

Timb.

Xyl.

Triang. Cym. C.cl.s.t. Tmb.s.t. C.cl.à.t. Tmb.à.t.

Cym. Grosse-c.

nam sva

lm,e csu

hfnm.

nos

rents.

d’boo sig pa

rat’.

59 3+2

428

2+2+2

S. Jq!

Oy! Hoï!

M.s. Jq!

Oy! Hoï!

T. 8

Jq!

Oy!

Hoï!

tou

lde[

dvookh pe

;l=y>

zhd’yon,

mil

le,

B. Jq!

Oy!

Hoï!

tou

dvookh pe

;l=y>

zhd’yon,

mil

le,

s. Jq!

Oy! Hoï!

a. poco

poco

Jq!

<jc

Oy!

Bes

Hoï!

Dieu nous

db>

bé

nisse

vee, Bo

;f>

zha,

tou

lde[

dvookh pe

;l=y>

mil

zhd’yon,

le,

Oy! Hoï!

<jc

Bes

Dieu nous

poco

db>

bé

nisse

vee, Bo

;f>

zha,

tou

lde[

;l=y>

mil

dvookh pe

zhd’yon,

le,

P. II 8b 8

, ,

P. III

très sonore!

P. IV

T.d.b. Triang. Cym. C.cl.s.t. Tmb.s.t. C.cl.à.t. Tmb.à.t.

Cym. Grosse-c.

ckj

db>

sle vee,

Dieu nous

poco

, , ,

P. I

Xyl.

;f>

nisse,

;f>

nisse,

poco

Timb.

bé

Bo zha,

poco

Jq!

db>

sle vee,

Dieu nous

poco

ckj

bé

Bo zha,

2+2+2

432

S. Vb

Mee la

khan yel,

mère

pè

kha

[fy( tk> re,

M.s.

Mee

kha

mère

[fy( tk>

khan yel, pè

re,

T. 8

lde[

;=y>

fils

fil

lde[

;=y>

fils

fil

do dvookh pe

zhon, le,

Mee

kee

gen xbr>

père

mè

pe poot cheek, re,

do dvookh pe

zhon, le,

Mee

kee

gen xbr>

père

mè

re,

khan yel,

mère

pè

pe poot cheek,

Mee la

kha

a. poco

lde[

;=y>

fils

fil

do dvookh pe

<jc

zhon,

Bes le le,

Dieu nous

bé

nisse,

bé

nisse,

vee, Bo

zha,

;f>

Mee

kee

gen xbr>

père

mè

pe poot cheek, re,

poco

lde[

;=y>

fils

fil

do dvookh pe

<jc

zhon, le,

Dieu nous poco

P. I

P. II

P. III

P. IV

Timb.

Xyl. T.d.b. C.cl.s.t. C.cl.à.t.

Grosse-c.

Bes le

vee, Bo

zha,

;f>

Mee

kee

gen xbr>

père

mè

pe poot cheek, re,

[fy( tk> re,

60 2+2+2

436

3+2

S. Hj;

Rezh la

d’es tvo Khrees to

ltc

ndj

{hbc nj

ve,

sœur

re,

frè

df>

[ht

cnsym ,j

tous

ceux

khr’e stin’ be qui

ckjd

crai gnent,

slev

nb>

l’ya tee,

M.s. Hj;

ltc

sœur

Rezh d’es

ndj {hbc

tvo Khrees to et

frè

df>

ve,

[ht cnsym

ckjd

tous

ceux

qui

crai gnent,

[ht

cnsym ,j

ckjd

tous

ceux

qui

crai gnent,

[ht cnsym

ckjd

tous

ceux

qui

crai gnent,

[ht

cnsym ,j

ckjd

tous

ceux

crai gnent,

[ht

cnsym ,j

ckjd

tous

ceux

crai gnent,

[ht

cnsym ,j

ckjd

tous

ceux

crai gnent,

khr’e stin’ be

re,

slev

nb>

l’ya tee,

T. 8

Hj;

d’es tvo Khrees to

ltc

ndj

{hbc nj

ve,

sœur

re,

Hj;

ltc

ndj

tvo Khrees to

{hbc nj

ve,

sœur

re,

Rezh la

frè

df>

khr’e stin’ be

slev

nb>

l’ya tee,

Rezh d’es

frè

df>

khr’e stin’

be slev

nb>

l’ya tee,

s. Hj;

Rezh la

d’es tvo Khrees to

ltc

ndj

{hbc nj

ve,

sœur

re,

frè

df>

khr’e stin’ be qui

slev

nb>

l’ya tee,

a. poco

poco

<jc kj

Rezh

Dieu nous

bé

nisse,

T.d.b. C.cl.s.t. C.cl.à.t.

Grosse-c.

ltc

ndj

{hbc nj

ve,

sœur

re,

frè

df>

<jc kj

db>

zha,

;f>

Rezh

Hj;

ltc

d’es tvo Khrees to

ndj

{hbc nj

ve,

Dieu nous

bé

nisse,

sœur

re,

frè

df>

zha,

Dieu nous

bé

nisse,

<jc kj

db>

;f>

Bes le

vee,

zha,

Dieu nous

bé

nisse,

poco

(très sonore)

;f>

poco

vee,

poco

Bes le

db>

Bes le poco

P. III

Xyl.

d’es tvo Khrees to

poco

P. II

Timb.

Hj;

zha,

P. I

;f>

poco

P. IV

vee,

<jc kj

db>

Bes le

khr’e stin’ be qui

slev

nb>

l’ya tee,

nb>

l’ya tee,

440

S. r dty

poo

shcha tee.

nb.

Be slov’, Bo

lui

sont

dè

les.

Dieu

k v’en

tsoo

<j ckjdm> <j nous

;f>

zha,

gard’, nous

Bo zhoon’

;eym

ka,

rf>

ckjdm

sis

te,

Dieu

nous

slov’

;eym

bé

nis

;eym

bé

nis

;eym

bé

nis

;eym

bé

nis

;eym

bé

nis

;eym

bé

nis

;eym

bé

nis

;eym

bé

nis

Bo zhoon’

rf!

ka! se!

M.s.

k v’en

r dty

tsoo

poo

shcha tee.

nb.

Be slov’, Bo

<j ckjdm> <j

lui

sont

dè

les.

Dieu

r dty

poo

shcha tee.

nb.

Be slov’, Bo

lui

sont

dè

les.

Dieu

shcha tee.

nb.

Be slov’, Bo

dè

les.

Dieu

nous

;f>

zha,

gard’, nous

Bo zhoon’

;eym

ka,

rf>

ckjdm

sis

te,

Dieu

nous

slov’

Bo zhoon’

rf!

ka! se!

T. 8

k v’en

tsoo

<j ckjdm> <j nous

;f>

zha,

gard’, nous

Bo zhoon’

;eym

ka,

rf>

ckjdm

sis

te,

Dieu

nous

slov’

Bo zhoon’

rf!

ka! se!

B. r dty

k v’en

tsoo

lui

sont

r dty

poo

shcha tee.

nb.

Be slov’, Bo

lui

sont

dè

les.

Dieu

k v’en

tsoo

poo

<j ckjdm> <j nous

gard’, nous

<j ckjdm> <j nous

;f>

zha,

;f>

zha,

gard’, nous

Bo zhoon’

;eym

ka,

rf>

ckjdm

sis

te,

Dieu

nous

rf>

slov’

Bo zhoon’

;eym

ka,

ckjdm

sis

te,

Dieu

nous

slov’

Bo zhoon’

rf!

ka! se!

rf!

ka! se!

a. r dty

k v’en

tsoo

poo

shcha tee.

nb.

Be slov’, Bo

lui

sont

dè

les.

Dieu

r dty

poo

shcha tee.

nb.

Be slov’, Bo

lui

sont

dè

les.

Dieu

r dty

poo

nb.

lui

sont

dè

les.

k v’en

tsoo

<j ckjdm> <j nous

gard’, nous

<j ckjdm> <j nous

;f>

zha,

;f>

zha,

gard’, nous

Bo zhoon’

;eym

ka,

rf>

ckjdm

sis

te,

Dieu

nous

rf>

slov’

Bo zhoon’

;eym

ka,

ckjdm

sis

te,

Dieu

nous

slov’

Bo zhoon’

rf!

ka! se!

rf!

ka! se!

k v’en

tsoo

<j ckjdm> <j

shcha tee.

Be slov’, Bo Dieu 8

P. I

sempre

P. II

sempre

8b 8

sempre

P. III

P. IV

Timb. Xyl. sempre

T.d.b. C.cl.s.t. C.cl.à.t.

Grosse-c.

nous

;f>

zha,

gard’, nous

Bo zhoon’

;eym

ka,

rf>

ckjdm

sis

te,

Dieu

nous

slov’

Bo zhoon’

rf!

ka! se!

444

S. Gjlm yf cdflm ,e! Gjlm yf cdflm ,e! Gjlm yf cdflm ,e!

Pod’ na svad’ boo! Pod’ na svad’ boo! Pod’ na svad’ boo! Viens a

vec nous!

Viens a

vec nous!

Viens a

vec nous!

M.s. Gjlm yf cdflm ,e! Gjlm yf cdflm ,e! Gjlm yf cdflm ,e!

Pod’ na svad’ boo! Pod’ na svad’ boo! Pod’ na svad’ boo! Viens a

vec nous!

Viens a

vec nous!

Viens a

vec nous!

T. 8

Gjlm yf cdflm ,e! Gjlm yf cdflm ,e! Gjlm yf cdflm ,e!

Pod’ na svad’ boo! Pod’ na svad’ boo! Pod’ na svad’ boo! Viens a

vec nous!

Viens a

vec nous!

Viens a

vec nous!

B. Gjlm yf cdflm ,e! Gjlm yf cdflm ,e! Gjlm yf cdflm ,e!

Pod’ na svad’ boo! Pod’ na svad’ boo! Pod’ na svad’ boo! Viens a

vec nous!

Viens a

vec nous!

Viens a

vec nous!

s. Gjlm yf cdflm ,e! Gjlm yf cdflm ,e! Gjlm yf cdflm ,e!

Pod’ na svad’ boo! Pod’ na svad’ boo! Pod’ na svad’ boo! Viens a

vec nous!

Viens a

vec nous!

Viens a

vec nous!

Gjlm yf cdflm ,e! Gjlm yf cdflm ,e! Gjlm yf cdflm ,e!

Pod’ na svad’ boo! Pod’ na svad’ boo! Pod’ na svad’ boo! Viens a

vec nous!

Viens a

vec nous!

Viens a

vec nous!

Gjlm yf cdflm ,e! Gjlm yf cdflm ,e! Gjlm yf cdflm ,e!

Pod’ na svad’ boo! Pod’ na svad’ boo! Pod’ na svad’ boo!

Sv’ya

Cdz

nsq

tiy

Loo

ka,

Viens a

Viens

vec

nous!

vec nous!

Viens a

vec nous!

Viens a

vec nous!

rf>

po Saint

!j@lm yf

(o)d’ na Luc

cdflm

,e>

Cdz

ment,

Saint

,e>

Cdz

ment,

Saint

svad’ boo, gal’

Svya

Gjlm yf cdflm ,e! Gjlm yf cdflm ,e! Gjlm yf cdflm ,e!

Pod’ na svad’ boo! Pod’ na svad’ boo! Pod’ na svad’ boo!

Sv’ya

Cdz

nsq

tiy

Loo

ka,

Viens a

Viens

vec

nous!

vec nous!

Viens a

vec nous!

Viens a

vec nous!

rf>

po Saint

!j@lm yf

(o)d’ na Luc

P. I

P. II

P. III

P. IV

Timb. Xyl. T.d.b. Triang. Cym. C.cl.s.t. Tmb.s.t. C.cl.à.t. Tmb.à.t.

Grosse-c.

baguette en bois

cdflm

svad’ boo, gal’

Svya

450

s. Cdz

Sv’ya

tiy

nsq

rf>

Viens

vec

nous,

Cdz

nsq

Loo

ka,

Sv’ya

tiy

Loo

rf>

Viens

vec

nous,

ka,

gj !j@lm yf cdflm

,e>

po (o)d’ na svad’ boo, Saint Luc

gal’

gj !j@lm yf cdflm

ment,

,e>

po (o)d’ na svad’ boo,

Saint Luc

gal’

ment,

cresc.

t. 8

nsq

tiy

Loo

ka!

rf!

Cdz

nsq

Loo

ka,

Luc,

Saint

Luc!

Veil

sur

ceux

Sv’ya

tiy

rf>

cresc.

nsq

tiy

Loo

ka!

rf!

Sv’ya

Cdz

nsq

Loo

ka,

Luc,

Saint

Luc!

Veil

sur

ceux

tiy

rf>

cresc.

P. I, III

poco a poco cresc.

P. II

P. IV

poco a poco cresc.

Timb. poco a poco cresc.

Xyl.

Triang. Cym. C.cl.s.t. Tmb.s.t.

C.cl.à.t. Tmb.à.t.

Grosse-c.

457

3+2

cresc.

s. Cke

wb cdflm ,e>

Sloo

lde[

tsi svad’ boo,

Pré

side à leur mé na ge.

cf ;= ys[>

dvookh

se zho nikh,

par

mêm’

choi sis,

toi

cresc.

Cke

wb cdflm ,e>

Sloo

lde[

tsi svad’ boo,

Pré

side à leur mé na ge.

cf ;= ys[>

dvookh

se zho nikh,

par

mêm’

choi sis,

toi

cresc.

(cresc.)

t. 8

cke

sloo

cdflm

tsi svad’

qui en trent en mé

,e>

Cke wb cdflm

boo,

Sloo tsi svad’

ge.

Ar ran ge tou

boo te

cho se,

lde[

vj kj

dvookh me le Saint Luc,

ys[> cke wb cdflm

d’yo nikh, sloo tsi svad’ mieux pour eux, Choi sis

tous

boo deux

(cresc.)

cke

sloo

cdflm

tsi svad’

qui en trent en mé

,e>

Cke wb cdflm

boo,

Sloo tsi svad’

ge.

Ar ran ge tou

boo te

cho se,

lde[

vj kj

dvookh me le Saint Luc,

ys[> cke wb cdflm

d’yo nikh, sloo tsi svad’ mieux pour eux, Choi sis

tous

boo deux

(cresc.)

P. I, III

P. II

(cresc.)

P. IV

(cresc.)

Timb. (cresc.)

Xyl.

Triang. Cym.

C.cl.s.t. Tmb.s.t.

C.cl.à.t. Tmb.à.t.

Grosse-c.

463

cresc.

S. Cke

Sloo As

wb> cke wb sis te

cresc.

cdflm

svad’ boo dvookh soo zho nikh

,e lde[

;= ys[

p’er

gth

dsq

vïy

mla d’en!

le pré

sent et

tout temps,

eux

leurs

en fants!

cke wb

cdflm

svad’ boo dvookh soo zho nikh

,e lde[

;= ys[

p’er

gth

dsq

vïy

mla d’en!

les dans

le pré

sent et

tout temps,

eux

leurs

en fants!

tsï, sloo tsï les dans

vkf lty!

M.s. cresc.

T. 8

sloo tsï

vkf lty!

B. B

vkf lty!

p’er

gth

dsq

vïy

mla d’en!

eux

leurs

en fants!

cresc.

s. cke wb

cdflm

svad’ boo dvookh soo zho nikh

p’er

gth

dsq

vkf lty!

Gar de

les,

eux

leurs

en fants!

sloo tsï

,e lde[ gar

;= ys[

les,

vïy

mla d’en!

cresc.

Cke

Sloo As

cresc.

wb> cke wb

tsï, sloo tsï sis te, gar de

svad’ boo dvookh soo zho nikh

p’er

gth

dsq

vkf lty!

les,

eux

leurs

en fants!

gth

dsq

vïy

mla d’en!

leurs

en fants!

gth

dsq

vïy

mla d’en!

leurs

en fants!

cdflm

,e lde[

gar

;= ys[ les,

vïy

mla d’en!

, ,

cresc.

t. 8

lde[

gj cf

dvookh pe se

zho

l’un à l’au tre

pro

ys[>

cke wb

cdflm

svad’

boo

lde[

mis;

Gar de

les,

gar

ys[>

cke wb

cdflm

svad’

boo

lde[

mis;

Gar de

les,

gar

nïkh, sloo tsï

dvookh les

soo dans

ys[

zho nïkh Ee

p’er

tous les temps, eux

vkf lty!

cresc.

lde[

gj cf

dvookh pe se

zho

l’un à l’au tre

pro

nïkh, sloo tsï

dvookh les

soo dans

ys[

zho nïkh Ee

p’er

tous les temps, eux

vkf lty!

cresc.

, (cresc.)

(cresc.)

P. I, III

P. II

(cresc.)

P. IV

(cresc.)

Timb. (cresc.)

Xyl. cresc.

Triang. Cym. C.cl.s.t. Tmb.s.t. sub. e poco a poco cres

cen

allo

C.cl.à.t. Tmb.à.t. Grosse-c.

attacca subito

RFHNBYF NHTNMZ

TROISIÈME TABLEAU

GHJDJLS YTDTCNS

LE DÉPART DE LA MARIÉE

L’istesso tempo

469

s. <kf

Ble

Comme on

ckj dkzk

sle vl’yal

s’ya

voit

dans

cdt

n=k

ciel

sv’e t’yol m’e

czw

blan

che

yas

cjk

lune

leil,

Ain

s’yats o

sol

yei

rf>

<kf

vait dans

noosh ka, Ble

ckj

sle

dkz

kfcm ryz

lais,

vl’ya las’ kn’ya

P. I, III P. II, IV una corda

475

T. 8

<kf

Bla Bé

gee n’yush ka oo

ge soo da r’ya

ba t’yush kee,

oo ge soo da

vait

son vieux pè

re,

prin cesse,

elle

y/i rf au

près

n/i

rb> Et

hs yb>

tait heu

ri nee, oo ge

soo

reu

son

père

près

vf nei

ri nee

ma toosh sa

rb.

kee. re.

mè

P. I, III P. II, IV

!Jntw c vfnthm/@

68 (Le père et la mère)

3+2

482

3+2

da na choo

lf yf

zhoo yu

cnj

ro noosh

yei

koo.

et plus ja

mais je

vien

drai.

ste

re.

M.s. T. 8

ckj

sle

vee

m’e

yz>

nis

moi,

mon

pè

re,

n’ya,

n/i

rf>

t’yush

ka,

m’en

vais,

B. Ghb nf

lf yf

que comm’

ro noosh

yei

koo.

mais je

vien

drai.

cnj

ro noosh

yei

koo.

vien

drai.

et plus ja

Voi là

zhoo yu

lf yf

p’e las’

cnj

da na choo

zhoo yu

et plus ja

mais je

ste

gt kfcm

Pree ta

re.

gliss.

P. I, III tre corde

P. II tre corde

P. IV 8b

tre corde

Timb. secco

!Lhe;rb@

69 (Les amis de noces)

489

S. Ghb cnj

Pree ste Ain

ryz ub

yz> ryz

crj hs yj

vés

pieds ra

des

pris

la kn’ya gee n’ya, kn’ya gee n’ya sko ri no

sont trou

les

;tym

zhen’

rb.

kee.

ter

M.s. E; rfr

,jc kj

Oozh kak bes le Qu’el le

s’en ail

lee

e nee

loin

de ceux

vee

T. 8

htl

P’e r’ed

ba prin

crjq

ces

tsoo skey

sv’e tsa vos koo

cdt

djc re

ya re

cou

cier

beau

jau

P’e r’ed

Gt htl

de vant

l’i

cône, Et

pjv ljk uj

zem dol ge puis

cnj

sto yu

prend au

wb.

tsi.

pied,

P. I, III

P. II

P. IV

496

S. Lf

xnj yf xt

Da shto na che A

vec le

ns ht yf

ti r’e na

pain, a

vec

cnj

ste le

hj yei

ro noosh kee sel,

{kt ,jv cjkm /

Cgf cjv

Khl’e bem sol’ yu Spa sem vec la

trois fois

sainte i

j, hf

ob re ma

pjv.

zem. ge.

M.s. lt

qu’elle

me.

ujhm

gkf we

vant son pè

re.

xnj yf xt

bé nis

sez

d’e vee

tsoo

T. 8

gor’ ke pla tsoo

tsi

xnj yf xt

Da shto na che A

vec le

Da shto na che

r’e

yf cnj

na ste

la quand

hj yei

ro noosh mê

kee me.

P. I, III

P. II

P. IV

simile

ns ht yf

ti r’e na

pain, a

vec

cnj

ste le

hj yei

ro noosh kee sel,

{kt ,jv cjkm /

Cgf cjv

Khl’e bem sol’ yu Spa sem vec la

trois fois

sainte i

j, hf

ob re ma

pjv.

zem. ge.

70 !Dct@

(Tout le monde)

503

hyb

Dans

cham

rnee

wt>

bas,

tse, bre

ujh

bel

gor nee

cdz

nkb

le,

bien

tse

ve sv’ya

tlee

tse ro

sée,

T. 8

Cdz

nsq

Sv’ya Saint

tiy Cô

Repm

vf>

Cô

me,

Kooz’ ma,

me, Saint

!j@lm

viens

po (o)d’

yf cdflm ,e>

Cdz

nsq

vec

Saint

Côme

na svad’ boo, Sv’ya nous,

Repm

tiy

vf Ltvm

Kooz’ ma D’em’ yan et

mien,

po (o)d’

!j@lm

cdflm ,e>

nez

vec

nous!

svad’ boo,

P. I

P. II 8

P. III

P. IV

Xyl.

507

3+3

S. Ldf

Dva

Deux tour

rel les se

loo b’ya

,kb

wt.

sont

sées.

t’ya

blee tse.

a. Cdz nsq Repm vf>

Sv’ya tiy Kooz’ ma, Saint

Cô

me,

gjlm

ron,

pod’

for

cdflm ,e>

Cdz nsq Repm

creq yfv

cdflm

svad’ boo, Sv’ya tiy Kooz’ ma skooy nam svad’ choi

sis

tes

meil

leurs clous,

For

nous

,e>

Cdz nsq

boo, Sv’ya tiy ces

Repm vf> creq

yfv

ces,

Cô

for

rht gre>

Kooz’ ma, skooy nam kr’e pkoo, les

nous,

b. Vf

Ma Saints

nei

Côme

toosh

Rep

mien

nous

Kooz’ Da

Ltvm

D’em’ ont

ya ten

dus;

na Dans

très fort

P. I

P. II

P. III

P. IV

Xyl.

72 511

T. 8

c vkf ljc nb

de sta

jus

ter

me de

s mla des tee

a. rhtg re> ndth le> ljk uj

kr’ep koo, tv’er doo, del ge for

les

nous for tes,

dtn ye>

c vkf

For

les nous

du res,

çon

v’et noo, v’e 2

ke v’et noo,

s mla fa

cnb

stee que

les

ee de no

cnf

hj cnb>

ces

du rent

sta

re stee,

b. Gj

s’e

cour

sont

yzv

des

cen

n’yam khe

dee dus,

vec

gvoz

udjp

bee

les

clous

sont

nus.

dee

kf.

la.

= P. I

= P. II

= P. III

= P. IV

= 8b

Xyl.

qu’au

lj cnf

517

3+2

S. Dj

ujh

Dans

Ve gor

nee cham

wt>

bas,

tse, bre

ujh

wt>

cdtn

bel

le,

bien

gor nee tse,

ve sv’et

wt.

lee

tse. ro

sée.

T. 8

hjc nb

res tee nos ans.

s. B

ma likh

vf ks[

jus

qu’à nos

pe tits

d’e

itr.

Ldf uj ke ,z

too

shek.

Dva go loo b’ya

fants.

Deux tour te

rel les

t. 8

ma likh

vf ks[

jus

qu’à nos

pe tits

d’e

itr.

too

shek.

fants.

= P. I

fort, très martelé

= P. II

excessivement fort

= P. III

= P. IV

Timb.

Xyl.

= meno

= D gj

tam

bour

V pe lee

hs ,m/n> d wbv ,f

uhs

bat,

des

sus

tour

ri b’yut, v tsim ba

gri

= D gj

tam

V pe lee

tee bour

hs ,m/n> d wbv ,f

uhs

gri

bat,

des

sus

tour

ri b’yut, v tsim ba

tee

M.s.

3+2

524

E nee

J yb

gm/n>

là

voi

p’yut, qu’on

gm/n

chante, on

danse,

nee p’yut

km/n>

boit,

ee l’yut,

= na t’yab lee

yf nz,

tse.

wt.

se sont

sées.

, =

très fort

P. I

P. II

P. III

P. IV

Xyl.

74 = 529

3+3

/n.

yut. bras.

M.s.

/n.

yut. bras.

Cdz nsq Repm vf> cke wb cdflm ,e

c vkf

leurs

cnb

ee de

Garde, u

jeunes

ans à

nis, les

és

cnf hjc nb

stee

Sv’ya tïy Kooz’ ma, sloo tsï svad’ boo s mla de

sta res tee leurs vieux ans,

Cdz

Sv’ya Forg’

nsq

Repm vf

!j@lm

tïy Kooz’ ma, po (o)d’ nous les no

ces

yf cdflm ,e.

c vkf lj

na svad’ boo.

com me tu sais for

ger,

= Repm

de leurs vieux ans à

cnb

s mla de stee ee de

Kooz’

Saints

ma Côme 2

D’e et

vmzy

m’yan

mien 2

s’e n’yam khe

yzv

nous

ont

ten

kf>

dee dus,

Dans

la,

gvoz dee se

udjp

bee

cour

sont des

cen

dus

la 2

P. I

P. II

P. III

legato

P. IV

2 2

75 534

3+3

likh

ks[

jus

qu’à

leurs

d’e tits

too

shek.

itr.

Ns> Vfnm <j ;mz> cf

fants.

Toi, par qui

Christ

Ti, Mat’ Bo zhya, sa ma Jé

sus

M.s.

likh

ks[

jus

qu’à

leurs

too

shek.

itr.

Ns> Vfnm <j ;mz> cf

fants.

Toi, par

d’e tits

Ti, Mat’ Bo zhya, sa ma qui

Jé

sus Christ

T. 8

likh

ks[

jus

qu’à

leurs

d’e tits

itr.

too

shek.

fants.

likh

ks[

jus

qu’à

leurs

d’e tits

itr.

too

shek.

fants.

Ns> Vfnm <j ;mz> cf

Toi, par qui

Christ

Ti, Mat’ Bo zhya, sa ma Jé

sus

= Ns> Vfnm <j ;mz> cf

Ti, Mat’ Bo zhya, sa ma

Toi, par

= =

t. 8

cnf hjc

sta res tee

ns>

ti,

sa ma

Mat’

toi,

qui

as don né ton

leurs vieux ans. 2

cf vf

Vfnm

;mz>

zhya, Fils,

= cdf

lt,

d’eb koo

puis

sont

nus.

sva

kf.

la.

= 8

= P. I

= = P. II

= 8

= P. III

= 2

P. IV

= Triang.

Cym.

C.cl.à.t.

baguette en bois

qui

Jé

sus Christ

77 2+3

539

S. <j

monde

lb xf>

ro a

Cke

dee cha, é

té

wb cdflm ,e>

Sloo tsi svad’ boo,

mis.

tiens les

cke wb rhtg re.

sloo tsi kr’ep koo. és

mee

nis,

M.s. <j

monde

lb xf>

ro a

Cke

dee cha, é

té

wb cdflm ,e>

Sloo tsi svad’ boo,

mis.

tiens les

cke wb rhtg re.

sloo tsi kr’ep koo. és

nis,

cj dct

se vs’e

tous les

mee A

T. 8

cj dct

se vs’e

tous les

mee A

B. B

cj dct

se vs’e

tous les

mee A

s. <j

monde

lb xf>

ro a

té

mis.

tiens les

Cke

dee cha, é

té

wb cdflm ,e>

tiens les

Gjlm yf cdflm ,e>

cke

wb cdflm ,e>

la noce et

bé

cke wb rhtg re.

sloo tsi kr’ep koo. és

nis,

cke wb rhtg re.

sloo tsi kr’ep koo. és

mee

nis,

cj dct

se vs’e

tous les

Pod’ na svad’ boo,sloo tsi svad’ boo,

Viens

Sloo tsi svad’ boo,

mis.

wb cdflm ,e>

Sloo tsi svad’ boo,

lb xf>

ro a

Cke

dee cha,

cj dct

se vs’e

tous les

mee A

cj dct

se vs’e

tous les

mee A

ss.

gli

P. I

P. II

ss.

P. III

gli

P. IV

Timb. cresc.

Triang. Cym. C.cl.à.t. Tmb.à.t.

Grosse-c.

545

S. c Gjc nj

s Pos te

pô tres

kf vb>

la mee,

c Fy ut

kz vb.

au pa

ra dis;

c Fy ut

kz vb.

au pa

ra dis;

c Fy ut

kz vb.

au pa

ra dis;

c Fy ut

kz vb.

au pa

ra dis;

c Fy ut

kz vb.

au pa

ra dis;

c Fy ut

kz vb.

au pa

ra dis;

c Fy ut

kz vb.

au pa

ra dis;

c Fy ut

kz vb.

au pa

ra dis;

B rfr dm= ncz [vtkm gj

s An g’e l’ya mee.

aus si,

Ee kak v’yo tsa khm’el’ pe Et,

comme au

tour

tronc

wm/ !e@>

tsyu (yu), jus qu’au bout,

M.s. c Gjc nj

s Pos te

pô tres

kf vb>

la mee,

aus si,

Ee se et tous

dct

v’se

mee

les

Saints

B rfr dm= ncz [vtkm gj

s An g’e l’ya mee.

Ee kak v’yo tsa khm’el’ pe Et,

comme au

tour

tronc

wm/ !e@>

tsyu (yu), jus qu’au bout,

T. 8

c Gjc nj

s Pos te

pô tres

kf vb>

la mee,

aus si,

Ee se et tous

dct

v’se

mee

les

Saints

s An g’e l’ya mee.

B. c Gjc nj

s Pos te

pô tres

kf vb>

la mee,

aus si,

Ee se et tous

dct

v’se

mee

les

Saints

s An g’e l’ya mee.

s. c Gjc nj

s Pos te

pô tres

kf vb>

la mee,

s An g’e l’ya mee.

aus si,

a. c Gjc nj

s Pos te

pô tres

c Gjc nj

s Pos te

pô tres

kf vb>

la mee,

aus si,

kf vb>

la mee,

aus si,

Ee se et tous

dct

v’se

mee

les

Saints

dct

v’se

mee

les

Saints

s An g’e l’ya mee.

B rfr

s An g’e l’ya mee.

Ee kak et,

c Gjc nj

s Pos te

pô tres

kf vb>

la mee,

aus si,

Ee se et tous

dct

v’se

mee

les

Saints

s An g’e l’ya mee.

ss.

gli

P. I

P. II

ss.

gli

P. III

P. IV

, Timb. cresc.

Tmb.à.t.

Grosse-c.

sol muta in si

dm= ncz [vtkm gj

v’yo tsa khm’el’ pe comme au

tour

551

nfr ,s yf ib

tak bi na shi me

kj ls t

db kbcm lheu

le di ye vee lees’ droog

lhe

droo

goo

!e@

és

s’en

roulent,

(oo)

(oo

oo)

(ou

ou)

(pour le français)

fait

le hou blon,Qu’ain si

nfr ,s yf ib

M.s.

tak bi na shi me (pour le français)

fait

kj ls t

l’un à l’au tre

les

db kbcm lheu

le di ye vee lees’ droog

le hou blon, Qu’ain si

l’un à l’au tre

ma ri

les

ma ri

lhe

droo

goo

!e@

és

s’en

roulent,

(oo)

(oo

oo)

(ou

ou)

T. 8

... gm/

nfr ,s yf ib vj kj

tak bi na shi me le

... tsyu

bout

L’un à l’au tre, les

ma ri

db kbcm lheu rj kj lhe

di ye vee lees’ droog ko le droo és, les

és s’en

nfr ,s yf ib

tak bi na shi me

kj ls t

db kbcm lheu

le di ye vee lees’ droog

lhe

droo

goo

!e@

és

s’en

roulent,

(oo)

(oo

oo)

(ou

ou)

(pour le français)

fait

le hou blon,Qu’ain si

nfr ,s yf ib

tak bi na shi me (pour le français)

fait

tronc

kj ls t

les

db kbcm lheu

l’un à l’au tre

ma ri

le di ye vee lees’ droog

le hou blon,Qu’ain si

wm/

l’un à l’au tre

les

ma ri

lhe

droo

goo

!e@

és

s’en

roulent,

!e@

tsyu

(oo)

(ou

ou)

L’un à l’au tre

ma ri

tak bi na shi me le

jus qu’au bout,

oo)

nfr ,s yf ib vj kj

(yu)

les

(oo

db kbcm lheu rj kj lhe

di ye vee lees’ droog ko le droo és, les

és s’en

b. nfr ,s yf ib vj kj

L’un à l’au tre

ma ri

tak bi na shi me le

P. I

P. II

P. III

P. IV

Timb. secco

secco

Xyl.

T.d.b. (bois)

Cym. Grosse-c.

, ,

les

db kbcm lheu rj kj lhe

di ye vee lees’ droog ko le droo és, les

és s’en

!Ghjdjls ytdtcns - dct elfkz/ncz.@

80 (Le départ de la mariée - tout le monde quitte la scène en l’accompagnant.) 559

(oo oo)

(oo

oo)

(oo

oo)

(oo

(ou ou)

(ou

ou)

(ou

ou)

(ou

M.s.

(oo oo)

(oo

oo)

(oo

oo)

(oo

(ou

ou)

(ou ou)

(ou

ou)

(ou

ou)

(ou

T. 8

goo

(oo oo)

(oo

oo)

(oo

oo)

(oo

roulent

(ou

ou)

(ou ou)

(ou

ou)

(ou

ou)

(ou

goo

(oo oo)

(oo

oo)

(oo

oo)

(oo

roulent

(ou

ou)

(ou ou)

(ou

ou)

(ou

ou)

(ou

(oo oo)

(oo

oo)

(oo

oo)

(oo

(ou

ou)

(ou ou)

(ou

ou)

(ou

ou)

(ou

t. 8

goo

(oo oo)

(oo

oo)

(oo

oo)

(oo

roulent

(ou

ou)

(ou ou)

(ou

ou)

(ou

ou)

(ou

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

!Cwtyf gecnf@

(La scène reste vide)

565

S. e@.

oo). ou).

M.s. e@.

oo). ou).

T. 8

oo)

(oo

oo)

(oo

oo)

(oo

oo)

(oo

oo)

(oo

oo)

(oo

ou)

(ou

ou)

(ou

ou)

(ou

ou)

(ou

ou)

(ou

ou)

(ou

B. e@

oo)

(oo

oo)

(oo

oo)

(oo

oo)

(oo

oo)

(oo

oo)

(oo

ou)

(ou

ou)

(ou

ou)

(ou

ou)

(ou

ou)

(ou

ou)

(ou

s. e@.

oo). ou).

t. 8

e@.

oo). ou).

P. I

simile

8 3

2 2

3 3

2 2

3 3

2 2

3 3

simile simile

P. II 3

P. III

3 3

simile simile

8 3

2 2

3 3

2 2

3 3

2 2

3 3

simile simile

P. IV 3

simile

, Timb. très court

Xyl.

, T.d.b.

C.cl.s.t. Tmb.s.t.

82 !D[jlzn vfnthb ;tyb[f b ytdtcns c rf;ljq cnjhjys cwtys.@

(Entrent les mères du marié et de la mariée de chaque côté de la scène.)

571

lamentando

dee

t lb

ye me

ye dee

nrj> vj t

t’ya

tke, me ye

(pour le français) lamentando

Cher

fant que

j’ai mis

mon de,

cher

T. 8

e@.

oo). ou).

B. e@.

oo). ou).

sub.

P. I, III

e legato

P. II

P. IV

579

vb kj

mee le

ye.

N’e

fant,

rbym

Cher

keen’

m’e

fant,

yz uj ht

vsx

pas

ten dre,

z rjh

n’ya ge r’e mich noo

me fais

yu.

lamentando

M.s. Hj

Re Toi

P. I, III

P. II

P. IV

dee

que

j’ai

me ye

me ye al

dee lai

nz nrj>

t’ya tke, té, nour ri,

Gj b

Toi que

né

de moi en

Pe ee la

le ya ker

586

Ve re

nbcm>

tees’,

nbcm

fant

tees’

me ya

dee t’ya

tka,

nrf>

mon ven

tre,

Re viens

nbcm

tees’

me ya

mee la

ya.

(pour le français)

Re viens

t’en,

te,

re viens

t’en.

M.s.

mee la

t’e

b’ya.

,z.

fant

ché

ri,

fant

nbcm

tees’

me ya

ché

ri,

re viens

mee la

ya.

ci;

t’es

P. I, III

P. II

P. IV

85 593

lamentando

itk rj djv

shel ke vem

po ya

ct.

d’ar

gent,

s’e.

lamentando

(pour le français)

bout de

son

ban

M.s. kf ns>

P. I, III

P. II

P. IV

ti,

dee

lé

nrj

lais

sant

t’ya tke

cnj !j@g rt

ns rk/

che

clef

qui

sto (o)p k’e ze

vil

ti kl’yu pend

chee

Ro En

601

S. lb

dee

me ye

fant

que

j’ai

dee mis

nrj...

t’ya tke... au

mon

de...

M.s. lb

dee

me ye

fant

que

j’ai

dee mis

nrj...

t’ya tke... au

mon

de...

P. I

P. II

P. III

P. IV

Xyl.

!Vfnthb e[jlzn. Cwtyf gecnf.@ 609

(Les mères sortent. La scène reste vide.)

M.s.

laissez vibrer

P. I

P. II

P. III

P. IV

Xyl.

attacca subito

XFCNM DNJHFZ

DEUXIÈME PARTIE

RFHNBYF XTNDTHNFZ

QUATRIÈME TABLEAU

RHFCYSQ CNJK

LE REPAS DE NOCES

87 Allegro

= 120

616

s. Z

ge da

c z !f@

s ya (a)

Y a deux fleurs sur

ljq

ge dey bran che,

ne rouge, u ne blan che,

se ka

tee

kf cz>

la s’ya.

La rouge

ya (a)

ge d’e

blan che

!f@

gj rkj

pe kle é

kf cz.

nee

taient sur

la s’ya. la

unis.

bran che, unis.

t. 8

ge da

c z !f@

s ya (a)

Y a deux fleurs sur

ljq

ge dey bran che,

ne rouge, u ne blan che,

se ka

kf cz>

tee

la s’ya.

La rouge

ya (a)

ge d’e

blan che

!f@

P. I

P. II

P. III

P. IV

Timb. très rythmé et court

, Xyl. tremolo

T.d.b. meno

(bois)

Cym.

meno

gj rkj

pe kle é

kf cz.

nee

taient sur

la s’ya. la

bran che,

620

S. Fq k/ kb> k/ kb> k/

kb! K/

itym rb> fq k/

kb!

Fq k/

Ay l’yu lee, l’yu lee, l’yu lee! L’yu shen’ kee, ay l’yu lee! Aï, lou li,

lou li,

lou

li!

Lou chen

ki, aï lou

li!

kb!

Ay l’yu

lee!

aï lou

li!

M.s. Fq k/ kb> k/ kb> k/

kb! K/

itym rb> fq k/

kb!

Fq k/

Ay l’yu lee, l’yu lee, l’yu lee! L’yu shen’ kee, ay l’yu lee! Aï, lou li,

lou li,

lou

li!

Lou chen

ki, aï lou

li!

kb!

Ay l’yu

lee!

aï lou

li!

T. 8

ujl rf rhfc yf>

ged ka kras na,

Un’

rouge y

rhfc

yf!

kras

na!

Ptv kz ybx U

ne blanche y

s. Fq k/

fq k/

kb!

aï lou

li!

fq k/

kb!

rhfc

aï lou

li!

ay lyu lee!

kb!

Ay l’yu

lee!

aï lou

li!

t. 8

ay lyu lee!

yf!

kras

na! a!

b. 8

très fort

P. I

P. II

P. III

très fort

gliss.

P. IV

Timb.

Xyl.

T.d.b.

Cym. Grosse-c.

rf cgt kf>

Z’em l’ya neech ka sp’e la.

gliss.

625

S. Fq>

Ay, aï

l’yu lou

itym rb>

shen’ kee, chen

ki,

kb!

l’yu

lee!

lou

li!

voi

là

que

d’e

rouge

M.s. Fq>

Ay, aï

l’yu lou

itym rb>

shen’ kee, chen

ki,

kb!

l’yu

lee!

lou

li!

voi

là

que

d’e

rouge

T. 8

cgt

kf!

Fq>

Ay, l’yu lee

aï,

lou

li!

voi

là

que

cgt

kf!

Fq>

aï,

lou

li!

sp’e

la!

d’e

rouge

sp’e

la!

Ay, l’yu lee

s. Fq>

Ay, aï

l’yu lou

itym rb>

shen’ kee, chen

ki,

kb!

l’yu

lee!

lou

li!

voi

là

que

d’e

rouge

t. 8

cgt

kf!

Fq>

Ay, l’yu lee

aï,

lou

li!

voi

là

que

sp’e

la!

d’e

rouge

b. 8

5 6

P. I

très sonore 8 5

P. II

8 5

P. III 5

P. IV très sonore 8b

Timb.

Xyl.

T.d.b. meno

Cym. Grosse-c.

(bois)

629

S. ckj

slo la

blanche

vjk

kf>

la,

n’e

vda

dlf

hjc

par

lé,

blan

che

sur

branche

tait

tout

cô

vjk

kf>

la,

n’e

vda

dlf

hjc

par

lé,

blan

che

sur

branche

tait

tout

cô

vjk

kf>

la,

n’e

vda

dlf

hjc

par

lé,

blan

che

sur

branche

tait

tout

cô

mol

vee

lee

res

kf.

la. té.

M.s. ckj

slo la

blanche

mol

vee

lee

res

kf.

la. té.

T. 8

ckj

slo la

blanche

mol

vee

lee

res

kf.

la. té.

V’e

s’yol,

v’e

c=k

Qui

c’est,

qui

c’est

c=k>

s’yol

lbn

ljh

kho

deet

F’yo

der

qui

vient?

Thé

dore

kf.

s. ckj

slo la

blanche

vjk

kf>

la,

n’e

vda

dlf

hjc

par

lé,

blan

che

sur

branche

tait

tout

cô

mol

vee

lee

res

unis.

la. té.

unis.

t. 8

ckj

slo la

blanche

vjk

kf>

la,

n’e

vda

dlf

hjc

par

lé,

blan

che

sur

branche

tait

tout

cô

mol

vee

lee

res

kf.

la. té.

V’e

s’yol,

v’e

c=k

Qui

c’est,

qui

c’est

c=k>

s’yol

der

qui

vient?

Thé

dor’

P. III

P. IV

Timb. più

meno

Cym. Grosse-c.

ljh

F’yo

T.d.b.

Xyl.

deet

.P. I

P. II

lbn

kho

= 632

3+2

E d na

Jl yf

sei

E d na

Jl yf

sei

E d na

Jl yf

sei

E d na

Jl yf

sei

E d na

Jl yf

sei

ya gneur Fé

tis,

c’est

{dt

cei

lhe

fleur

sur

la branche, Et

Fé

tis,

c’est

rou

ge,

Nas

{dt

cei

A droo ga

lhe

fleur

sur

la branche, Et

Fé

tis,

c’est

rou

ge,

Nas

{dt

cei

A droo ga

lhe

fleur

sur

la branche, Et

Fé

tis,

c’est

rou

ge,

Nas

{dt

cei

A droo ga

lhe

fleur

sur

la branche, Et

Fé

tis,

c’est

rou

ge,

Nas

{dt

cei

A droo ga

lhe

fleur

sur

la branche, Et

Fé

tis,

c’est

rou

ge,

Nas

Khv’e tee soosh ka

ce lfhm>

soo dar’,

A droo ga

M.s.

gneur Fé

tis,

c’est

Khv’e tee soosh ka

ce lfhm>

soo dar’,

T. 8

gneur Fé

tis,

c’est

Khv’e tee soosh ka

ce lfhm>

soo dar’,

B. Nb[

dbx.

fri

sé.

Teekh ne

veech.

gneur Fé

tis,

c’est

Khv’e tee soosh ka

ce lfhm>

soo dar’,

t. 8

e ben marc.

gneur Fé

tis,

c’est

Khv’e tee soosh ka

ce lfhm>

soo dar’,

b. Nb[

dbx.

veech.

shol,

na shol

itk

kjn

fri

sé.

L’an

neau,

Thé

dore

Teekh ne

itk>

.P. I

P. II

P. III

P. IV

Timb.

Xyl.

Cym. Grosse-c.

(bois)

let

gthc nbym>

p’ers teen’. trou

vé

kjn

let

s de re

d’or

d’un gros

c lj

2+3

636

S. Yfc nfcm

Nas tas’ ta

si’,

if...

c’est

blan

che.

C’est

mon

yush

doo sha...

utq Cgf

dbx>

g’ey Spa

veech,

sieur

gai.

M.s. Yfc nfcm

Nas tas’ ta

si’,

yush

doo

sha...

if...

c’est

blan

che.

C’est

mon

utq Cgf

veech,

sieur

gai.

g’ey Spa Pa

dbx>

T. 8

Yfc nfcm

Nas tas’ ta

si’,

yush

doo sha...

if...

c’est

blan

che.

fausset

port.

B. ?

ysd>

niv,

ysd

kho

deet

Qui

c’est,

qui

vient

gai?

Yfc nfcm

Nas tas’

si’,

niv

lbn

yush

doo sha...

if...

c’est

blan

che.

C’est

mon

utq Cgf

veech,

sieur

gai.

a. Yfc nfcm

Nas tas’ ta

si’,

if...

yush

doo

sha...

c’est

blan

che.

t. 8

b. ubv

bis

geem

rf vt ytv.

ka m’e n’em. tout or né.

P. I

P. II

gliss.

P. III

assez fort

P. IV

Timb.

Xyl. gliss.

T.d.b.

Cym. Grosse-c.

dbx>

g’ey Spa

gliss.

2+3

639

S. Gf

g’ey

Spa

Cgf

veech.

mon

sieur

gai?

g’ey

Spa

Cgf

veech.

mon

sieur

gai?

utq

dbx.

M.s.

fausset

port.

utq

dbx.

meno

B. Gj nt hzk

Pe t’e r’yal

Qu’est ce qui

kjn

let

p’er steen

lui

est

gth cnby ri

vé

g’ey

Spa

Cgf

veech.

mon

sieur

gai?

utq

dbx.

.P. I

gliss.

subito meno

P. II

gliss.

P. III

subito meno

P. IV

Timb.

Xyl. gliss.

T.d.b.

Grosse-c. secco

t’e

hzk

per

r’yal

642

B. pj

kjn

l’an

neau

let

gth cnby>

p’er steen, do

ré,

kjn

let

c de re

geem

ubv

ka m’e n’yam.

rf vt

yzv.

l’an

neau

d’un gros

bis

tout or

né.

c lf hf

s. ?

ysd>

niv,

yu niv,

ysd

Gf kf utq>

Gai,

gai,

le pauvr’,

pauvr’

Pa la gai,

ysd>

niv,

yu niv,

ysd

Gf kf utq>

Gai,

gai,

le pauvr’,

pauvr’

Pa la gai,

/ ysd>

niv

Pe le g’ey,

t. 8

.P. I

P. II

P. III

P. IV

Grosse-c.

/ ysd>

niv

Pe le g’ey,

647

s. ?

ysd

Gf kf utq

Pe le g’ey

kho

deet

pauvr’

Pa la gai,

n’est

ysd

Gf kf utq

Pe le g’ey

kho

deet

pauvr’

Pa la gai,

n’est

niv

lbn

Cgf ysx>

Spa nich, plus gai,

kho

deet

lbn

Gf kf utq>

n’est

plus

Pe le g’ey, gai,

lbn

Cgf

ysx.

kho

deet

Spa nich.

pauvr’

Pa la gai.

t. 8

niv

lbn

Cgf ysx>

Spa nich, plus gai,

kho

deet

lbn

Gf kf utq>

n’est

plus

Pe le g’ey,

lbn

Cgf

ysx.

kho

deet

Spa nich.

gai,

pauvr’

Pa la gai.

gth cnby

p lf hf ubv

cs rf vt yzv.

ru bis or né.

b. Gj

Pe A

P. I

P. II

P. III

P. IV

nt hzk

per

l’an neau

t’e r’yal du

kjn

let

p’er steen do

ré

z de re geem d’un gros

si ka m’e n’yam.

93 651

S. Kt

goo

si n’ya,

l’e

kf!

la!

L’e

Qui

est

vé,

vé?

L’oie

est

goo

si n’ya,

l’e

kf!

la!

L’e

Qui

est

vé,

vé?

L’oie

est

goo

si n’ya,

l’e

kf!

la!

L’e

Qui

est

vé,

vé?

L’oie

est

goo

si n’ya,

l’e

kf!

la!

L’e

Qui

est

vé,

vé?

L’oie

est

L’e

yz>

M.s.

L’e

yz>

T. 8

L’e

yz>

L’e

yz>

s. z

roug’

sur

bran

che

d’e

rkj

s’est

pen

ché

kf!

vé?

pe kle

nee vers

cz>

la s’ya, la blan che,

Ya La

blanch’ vers

ya rou

d’e

s’est

pen

l’e

la!

t. 8

E k/ k/ k/ k/ k/>

e k/ k/> cj ,f rb!

Oo l’yu l’yu l’yu l’yu l’yu,

oo l’yu l’yu, se ba kee!

You you you you you you

you you you you you you

E k/ k/> ,jh ps z>

oo l’yu

You you you you you you

you you

b. E k/ k/ k/ k/ k/>

Oo l’yu l’yu l’yu l’yu l’yu

l’e

You you you you you you

ta ri

la,

e k/

k/ k/ k/ k/

oo l’yu

l’yu l’yu l’yu l’yu

vé?

You you

you you you you

kf>

P. I

P. II

très fort et détaché

P. III

P. IV

Timb.

Xyl. très fort

T.d.b. meno

e k/

Oo l’yu l’yu,ber zi ya,

meno

654

S. kf

s’e

vée,

ya,

kf!..

la!..

Oy,

vée?

Oï

kf!..

la!..

Oy,

vée?

Oï

l’e

Jq>

M.s.

T. 8

s’e

vée,

ckj

vjk

kf.

bran

che.

kf!

la!

l’yu l’yu l’yu l’yu l’yu l’yu l’yu l’yu

Oy,

vée?

you you you you you you you you

Oï

ya,

l’e

Jq>

slo che

ve é

mol

vee

sur

la.

E k/

k/ k/ k/ k/ k/

you you

you you you you you

Jq>

Oo l’yu l’yu l’yu l’yu l’yu l’yu

Oy, Oï

l’e

k/ k/ k/ k/ k/ k/ k/ k/

Jq>

t. 8

l’yu ke si ya,

k/ rj cs z>

oo l’yu l’yu l’yu l’yu l’yu

k/ k/ k/ k/ k/

oo l’yu l’yu l’yu l’yu l’yu l’yu l’yu l’yu l’yu l’yu

e k/

k/ k/ k/ k/ k/ k/ k/ k/ k/

Oy,

Jq>

you you you you

you you you you you you

you you

you you you you you you you you you

Oï

b. kt

l’yu l’yu l’yu l’yu l’yu l’yu l’yu l’yu

vée?

you you you you you you you you

l’e

k/ k/ k/ k/ k/ k/ k/ k/

Jq>

Oy, Oï 8

P. I

sempre

P. II

sempre

P. III

sempre

P. IV

gliss.

sempre

Timb. Xyl.

T.d.b. C.cl.s.t. Tmb.s.t. C.cl.à.t. Tmb.à.t. Cym. Grosse-c.

(bois)

657

S. kzq !

Jq!

l’yay!

Oy!

laï!

Oï!

M.s. T. 8

kzq !

l’yay!

L’e

goo

laï!

L’oie

est

vée,

yz>

n’ya,

kf>

la,

L’e

s’e

ya,

vée,

par

porte

est

trée,

l’e

B. kzq !

Jq!

l’yay!

Oy!

laï!

Oï!

s. kzq !

Jq!

l’yay!

Oy!

laï!

Oï!

t. 8

kzq !

.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.

Jq!

l’yay!

Oy!

laï!

Oï!

663

Oy!

Jq!

Oy!

Jq!

Rhs kmz ghb vf

kf>

Oï!

Oï! a

tant bat

les,

Jq> kz

Kri l’ya pree ma kha la, tu

des

Oy, l’ya oï,

lee li

kz kb kzq !

l’ya lee l’yay! la

laï!

M.s.

T. 8

kt nf kf.

Jq!

l’e ta la,

Oy!

est en trée,

Oï!

Qu’ell’

hf kf>

les

est

cas sées.

Cnj k,s

zo lee pe tee ra la,

Ste lbi

Les murs fai

B. Jq!

Jq!

Oy!

Oï!

s. Jq!

Jq!

Oy!

Oï!

t. 8

Jq!

Oy!

Oï!

b. 8

P. I

(sempre

)

P. II

(sempre

)

P. III

(sempre

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

669

S. Jq>

Oy, oï

kzq !

Jq>

l’yay!

Oy,

laï!

oï,

kzq !

l’yay! laï!

Jq> kz

Oy, l’ya oï,

kzq !

laï!

lee l’yay!

M.s.

T. 8

crj ks [f kf>

ske li kha la,

sait trem bler,

kzq !

Jq>

Oy,

l’yay!

oï,

laï!

<j zh ghj ,e; lf kf.

Be yar pre boozh da la. Et

nous a

ré veil

lés,

kzq !

Jq>

Oy,

l’yay!

oï,

laï!

B. kzq !

Jq>

kzq !

Jq>

Oy,

l’yay!

Oy,

l’yay!

oï,

laï!

oï,

laï! unis.

unis.

s. Jq>

Oy, oï,

kzq !

Jq>

l’yay!

Oy,

laï!

oï,

kzq !

l’yay! laï!

Jq> kz

Oy, l’ya oï,

kzq !

laï!

lee l’yay!

a. unis.

unis.

t. 8

kzq !

Jq>

kzq !

Jq>

Oy,

l’yay!

Oy,

l’yay!

oï,

laï!

oï,

laï!

unis.

b. 8

P. I

8 3

P. II

glis

P. III

gliss.

P. IV

si muta in sol

Timb.

Xyl.

T.d.b. baguettes en métal

Triang. Cym.

Cym. Grosse-c.

(bois)

, ,

!Jntw ;tyb[f@ 675

!Ve;xbys@

!:tyobys@

97 (Les hommes)

(Le père du marié)

(Les femmes)

S. Fq>

vs nt ,t>

Yfc n/i rf> uj

Ay, mi t’e b’e, Nas t’yush ka, ge

Qu’est c’qu’on t’a vait

dit,

dis donc, la

M.s. T. 8

port.

que Dieu

mê

cf; lf

yf.

sezh de

na.

t’a don

née.

B. Djn

Vot

t’e b’e

Voi

là

zha

femm’

Fq>

vs nt ,t>

Yfc n/i rf> uj

Ay, mi t’e b’e, Nas t’yush ka, ge

Qu’est c’qu’on t’a vait

dit,

dis donc, la

a. Fq>

vs nt ,t>

Yfc n/i rf> uj

Ay, mi t’e b’e, Nas t’yush ka, ge

Qu’est c’qu’on t’a vait

dit,

dis donc, la

Ctq k=y

Toi, fem

Ctq k=y

Toi, fem

S’ey l’yon da

ka sèm’

yfg

kb.

nap

lee.

lin.

...;f

...zha la

S’ey l’yon da

femm’

ka sèm’

yfg

kb.

nap

lee.

lin.

.P. I

gliss.

P. II

P. III

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

679

!Ve;xbys@

!:tyobys@

(Les hommes)

(Les femmes)

S. dj hb kb.

Jq> vs nt ,t> vb kf z>

ve ree lee.

Oy, mi t’e b’e, mee la ya,

ée?

dj hb

kb.

ge ve ree lee.

Et, dis donc, mig non ne, qu’est c’qu’on t’a vait dit?

M.s. T. 8

...he

...roo

les

ch’mi

irb

gjhn

ses,

les

rb.

shkee da pert

kee. lottes!

Jq> vs nt ,t> vb kf z>

dj hb kb.

ve ree lee.

Oy, mi t’e b’e, mee la ya,

ée?

dj hb

kb.

ge ve ree lee.

Et, dis donc, mig non ne, qu’est c’qu’on t’a vait dit?

a. Jq> vs nt ,t> vb kf z>

dj hb kb.

ve ree lee.

Oy, mi t’e b’e, mee la ya,

ée?

dj hb

kb.

ge ve ree lee.

Et, dis donc, mig non ne, qu’est c’qu’on t’a vait dit?

Cghf ib dfq c yt =

he ,f irb lf gjhn

Spra shi vay s n’e yo roo ba shkee da pert Ell’ dev ra

nir ton lin

bien au

rb.

kee. propr’,

Cghf ib dfq c yt =

he ,f irb lf gjhn

Spra shi vay s n’e yo roo ba shkee da pert Ell’ dev ra

nir ton lin

bien au

rb.

kee. propr’,

.P. I

P. II

gliss.

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

gliss.

98 !Vfnm ytdtcns gjldjlbn t= r cdjtve pzn/.@ 682

!Lhe;rf> vfnm ;tyb[f> cdfn> cdf[f> dct gj-jxthtlb.@

(La mère de la mariée l’amène à son gendre.)

(L’ami de noces, la mère du marié, le svat, la marieuse – tour à tour.)

M.s. nbr

Z’ya

vjq k/ ,tp ysq> dhe

/ nt

teek moy l’yu b’ez niy, vroo cha

Mon

gen dre bien

mé,

con

lj xt

h/ k/

vos soins mon en

yu t’e b’e do che r’yu l’yu

fie

ye /.

,tp

b’ez noo yu.

he ,fi

Toi, ré

tes ch’mi

rb>

spra shi vay s n’e yo roo bash

fant bien ai mée.

cghf ib dfq c yt =

cla

lui

kee, ses,

T. 8

Ctq

k=y

Toi,

sè

S’ey

lf pf vfi

rb>

l’yon da za mash kee, me

lin,

B. ...Gjq>

...Poy, ...sois

P. I

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.

686

3 3

lt dfq lf yf hf

qu’au soir sois de bout, sois

S. ...gjq>

...poy, ...du

rjh vb

ker mee da tin

d’e vay da na re bo too

jus

ghf dkzq.

pra vl’yay.

bout sur tes pieds.

cresc. 3

M.s. Gjq> rjh vb lf

Poy, ker mee da Sois

la cave

dfq

vay

da na

lf yf

gren ier,

sur

veille

d’e

les

too

ghf dkzq.

pra vl’yay. vri ers.

3 3

lt dfq lf yf hf

qu’au soir sois de bout, sois

T. 8

...gjq>

...poy, ...du

3 3

rjh vb

ker mee da tin

d’e vay da na re bo too

jus

ghf dkzq.

pra vl’yay.

bout sur tes pieds.

B. rjh à

ker

mee

cave

da e

dfq

gren

ier,

d’e

vay

3 3

s. Lf yf hf

sois

Da na re bo too 3

ghf dkzq.

pra vl’yay.

bout sur tes pieds.

3 3

t. 8

Lf yf hf

sois

Da na re bo too 3

ghf dkzq.

pra vl’yay.

bout sur tes pieds.

.P. I 3

P. II 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.

!Jntw@ 690

100

(Le père)

port.

T. 8

L’yu Ai

,b !b@>

bee (ee),

,b> rfr le ie>

aime

la comm’ ton âm’,

l’yu bee, kak doo shoo,

(ai)me la,

port.

B. He

Roo Cou

lhj

bee (ou) (ou)p’

df>

dre

va,

bois,

...K/ Ai

Cghf ib dfq

Spra shi vay

près quoi

O!b@ !

Shch(ee)! claqu’.

a. O!b@ !

Shch(ee)! claqu’.

t. 8

O!b@ !

Shch(ee)! claqu’.

b. ...lhj

O!b@ !

df>

...dre

va,

...le

bois

Shch(ee)! claqu’.

P. I, III

P. II, IV

muta in do

Timb.

Xyl.

T.d.b.

C.cl.s.t. Tmb.s.t.

C.cl.à.t. Tmb.à.t.

Cym. Grosse-c.

...rfr

le ie

...kak doo shoo ...comm’ ton âm’,

gliss.

,b>

L’yu bee,

gliss.

rfr le ie>

kak doo shoo, la comm’ ton âm’,

= 696

101

3+2

T. 8

Nhz

cb>

rfr

uhe

trembl’

comme

Nhz

cb>

rfr

uhe

trembl’

comme

Tr’ya see, kak groo

ie.

shoo. pru

nier.

Tr’ya see, kak groo

ie.

shoo. pru

nier.

r’e vste

dcnf

lee,

V char

kee

lee,

Nos

mes

sieurs sont

nus,

Ils

ont

ri,

ils

ont

bu,

kb>

D xfh

lee

kb>

t. 8

...nhz

cb>

rfr

uhe

comme

...tr’ya see, kak groo trembl’

ie.

D xfh

shoo. pru

V char nier.

fai

saient

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.

kee

lee,

tour

des

bles,

lee

kb>

102

700

s. D xfh

Ils

ont

V char kee

lee,

Ges

t’ey

ntq

khe

kb>

Vfhm

Mar’

ri,

ils

ont

bu,

nos

mes

sieurs

sont

nus,

trin

quaient

lee

kb>

Ujc

dee lee,

gjl

kb>

vec

ri’:

ped ne

see lee,

t. 8

Ma trin

!f@

quaient a

gliss.

P. I, III

P. II

P. IV

Timb.

Xyl. (

T.d.b.

C.cl.s.t. Tmb.s.t.

Grosse-c.

hmt gjl yj

(a) r’ye ped ne

sempre)

vec

kb%

see lee: ri’:

Poco meno mosso

704

S. „Yt

„N’e „Ne

gm/>

mang’

p’yu,

n’e

B. „Ds gtq>

„Bois, Ma

ri’

„Vi p’ey,

nei

rf>

ka,

skoo

shey,

Khe

li’,

mange

ras

toosh la

cre

ifq>

si’

ree

dyf.”

vna.”

toi.”

P. I

P. II

P. III

P. IV

709

103

colla parte

port.

S. re

koo ne

sha bois,

yu,

yar

cke

vous

cou

n’e

sloo

„Z

/.”

sha

yu.”

„Ya

pas.”

„Au

allarg. e pesante

accel.

„Rf ,s

„Et

,sk

bil

c’é tait ton

jy”

bon

mi?”

See m’e on”

P. I

P. II

P. III

P. IV

C.cl.s.t. Tmb.s.t. Grosse-c.

a tempo

„Ka bi

cgb

kf>

spee

la,

rais

man

100

104 713

Tempo I

= 120

skoo

cre

sha

kf>

la,

yar

cke

sloo

sha

kf.”

gé

bu,

rais

bien

aus

si.”

la.”

T. 8

...Rb

...Kee ...la

B. ...Rb

...Kee ...la

s. „Jq>

„Oy, „Eh,

goo

là

bas

cs ju

pdjy

n’ya

zvon

ya,

pon

gris,

rô

deuse,

b. ...Rb

...Kee ...la

gliss.

P. I

P. II

leggiero

P. III

P. IV

Timb.

Xyl. sempre

T.d.b. sempre

Grosse-c.

101

105

717

T. 8

nfq

crf

tay

ska

ya!

pas

d’i

ci,

B. nfq

crf

tay

ska

ya!

pas

d’i

ci,

s. E;

Oozh ti

ult

tu,

l’oie,

d’où viens

gd’e goo

D’où viens

n’ya

pdjy

Ult

zvon

ya,

Gd’e

gri

se?

Toi

qui

viens

pe bi

xnj

kf*

d’où

viens

tu?

ee shto vee d’e loin,

la?

t. 8

...gj

...pe

...d’où viens

b. nfq

crf

tay

ska

ya!

...kee

...rb

nfq

crf

pas

d’i

ci,

...la

pas

d’i

ci,

gliss.

tay

ska ya,

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.

gj ,s

va la

ee shto

xnj

d’où viens

tu,

belle,

pe bi

102

106

722

S. „B

,s kf

„Ee ya bi la „J’é

tais

loin

cb ytv yf

see n’em na sur la mer,

hb> yf vj

yf ’pt

j’é

tais loin sur

mer im

ht>

mo ree, na mo ree na z’e

r’e, mense.

a. K/ kb>

t. 8

ee shto

xnj

vee d’e la?”

tu,

belle,

qu’as

kf*”

qu’as

vu?”

lt kf*” tu

vu?”

vee d’e la?”

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.

L’yu lee,

l’yu

Lou li,

lou

103

107

728

S. ’pt ht kt

Yf njv kb yf vj hb yf

Na tom lee na mo ree na

z’e r’e l’e

s’y bai gnait,

de moi sel

le blan che

,zlm ,t kf z

hf kf

b’yad’ b’e la ya koo pa la de dans l’a vait sa

cz>

s’ya, blanche.

s. Yf vj hb> yf ’pt

ht.

,t kj gf kfc rf kf

Na mo ree na z’e

r’e.

b’e le pe les ka la

loin sur la mer im

mense.

L’a

vait sa

be du di

a. kb! Yf vj hb> yf ’pt

ht.

lee! Na mo ree na z’e

r’e.

li, loin sur la mer im

mense.

K/ kb>

L’yu lee, Lou

li!

,t kj gf kfc rf kf

b’e le pe les ka la

L’a

vait sa

be du di

P. II

P. IV

Timb.

108

734

M.s. ...,sk kb

kjq

...bil lee b’e „A

vait

kt ,zlm yf vj hb*

...db ltk kb

ley l’e b’yad’ na mo ree? la

moi sel

...vee d’el lee

le?

gne

ns>

kjq kt ,=l

re* ”

le?”

b’e ley l’e b’yod koo?”

blanc, sa

mel

T. 8

„Lf

„Da

rfr

kak

zhe

„Com ment n’au rais

vyt lf

pas

té

mn’e da é

B. ...db ltk kb

ns>

...le

blanc sa

...vee d’el lee cy

gne

kjq kt ,=l

re* ”

le?”

b’e ley l’e b’yod koo?” mel

s. cz.”

s’ya.” manche.”

a. b. Jq...

Oy...

Jq...

Oy...

Lui.

P. I

P. II

très fort

P. III

P. IV

Xyl.

vj hb> yf

très fort

mo ree, na là,

com ment, com

104

109

739

T. 8

ree

n’e

dfnm>

ment

rais

fait?

vat’,

fausset

B. E

s. Lf

com ment, com

!f@r

vyt

ment

pas

voir

(a)k zhe mn’e l’e

P. I

P. II

lâchez

P. III

P. IV

C.cl.s.t. Tmb.s.t.

C.cl.à.t. Tmb.à.t.

et toujours lâchez

lei rb

b’yo

lfnm*

tait?

doosh kee n’e vee a

lors qu’elle

dat’?”

l’e b’e d’ya l’e b’e

Où,

où

est

cygne, est

105

743

Dva

Ldf

l’e

b’e d’ya, dva b’e likh

lz>

ldf

,t ks[

Là

bas

deux

gnes blancs na

gkf

df kb>

geaient,

Là

bas

sur

mer

{dt nb

nj Yfc

Fé

tis

pla

va lee, na mo

ree

T. 8

fausset

B. lei rf

gjl rhs kjv>

doosh ka ped kri lom, aus

mel

le,

l’e b’e d’ya ke

Où,

où

tient

ell’

tient sous son

gjl rhs kjv>

ped kri lom, ai

Oo le,

Où,

Khv’e tee sa où

est

te Nas

a. Jq> k/

Oy, l’yu Oï,

P. I

P. II

P. III

P. IV

C.cl.s.t. Tmb.s.t.

C.cl.à.t. Tmb.à.t.

lou

est

106

110 !Jlby bp lhe;tr–ytdtcnt@

(Un des amis de noces à la mariée)

747

S. gkf

ils

geaient,

pla

lee

T. 8

Fq>

xtv

toi,

Fq>

xtv

toi,

Ay,

fausset

chem

B. nfcm

aus

tas’

yush

rf gjl ,jx rjv>

ka ped bech kom, Oo cell’ qu’il ai

{dt

cf Nb

elle

est

cou chée,

Khv’e tee sa Tee me

me,

Où

...,t

ye pla

t gkf

kb.

...deux

gnes loin

d’i

ci.

td yf gjl rhs kjv.”

f’e est

yev na ped kri lom.” cou

ché contre el

Ay,

le.”

chem

...b’e

lee.

a. kb>

lee, li,

jq k/ kb

oy l’yu lee

b’e

ye pla

kb.

oï, lou

Deux

gnes loin

d’i

ci.

li!

t gkf

lee.

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)

zhe là

107

!Ytdtcnf@

(La mariée)

2+3

751

Ya pe po yas vo

gj gj zc dj

(o) zo

!j@ pj

kj nt j, db

kfcm

Jus qu’à la cein ture

j’ai de

l’or

pend,

;tv

le t’e eb vee las’ qui

xe;

vf [jh

zhem choozh ni ye ma khor chee kee Mes vo

lants

de per

les

vont traî

T. 8

Yfc nfcm

/i rf

e lf kf*

Nas tas’ yush ka oo da la? pour quoi

t’en crois tu tant?

B. ns

bas,

subito e legato

P. I, III

subito e legato

P. II, IV

Timb.

!Jlby bp lhe;tr@

111 !<jkmijq cdfn@

(Le grand svat)

755

(Un des amis de noces) =

(sempre)

3+2

S. lj

ptv kb.

z’em lee.

nant

par terre.

!rhbrjv@

Cdfnm

Svat’

/i rb> gj dj

yush kee pe ve

Eh!

là

bas, re

hf ib dfq ntcm>

gj lf

ra shi vay t’es’,

(crié)

(pour le français)

pe de

dfq

nt yt

vay

t’e n’e 3

ez vous,gar çons,

A me nez

vous la ma riée, le

B. J[>

gjq

ybr> ghj

gjq

ybr Yfc

nby

(a) t’yush ka

n/i

Nas

sie,

Okh,

poy

neek, pre

poy

neek Nas teen

Saou

lard,

vieux sa

laud,

pèr’

!f@

Ghj gbk cdj

sempre legatissimo

(sempre

P. I

)

sempre legatissimo

P. II

sempre legatissimo

P. III

, P. IV

[* rhbrjv: ‘shouting’.]

sempre legatissimo

Pro peel sve

Pour un

verr’

108

112 !Njn ;t lhe;rf@

(Le même ami de noces) 760

dtc

ne>

v’es too,

zhe

yb[

cre

bêt’

tout seul!

tn.

Rhfc

neekh skoo cha yet.

Kras

(pour le français)

rié

s’em

Eh!

vous

les

B. Yf

dby

cha

doo

vin

t’as

dby

ven

veen noo

veen

yjq

cha (a) rech k’e,

m’e

d’hui,

voi

c’est

ney

jour

!f@

hjx

rt> là,

djq

cnj

fill’ qu’tu

bois.

vey

gjx

sto

pech

rt.

k’e.

cha

roo

fil

le,

P. I

P. II

sub.

P. III

sub.

P. IV

sub.

T.d.b.

766

T. 8

d’e on

P. II

P. III

P. IV

T.d.b.

ws>

tsi,

Pee

;ys z

sait

pas

d’où

vous

vee ne

zhni ya

mas

vfc

t’e

ree

ws>

Ujh

les

rien

tout,

Les

tsi,

Gor

itx

fil

les

qu’on

shech

ue,

pour

deux

pa goob nee

109

113

772

T. 8

ws>

yei

noosh kee

pes

see

vï

ya,

sous,

vous

les

mau

vai

ses

langues,

tsï,

Zhe

gjc

nï

ped

khee

lï

ya,

lï

r’e

b’ya

vous

têt’

d’al

mandes,

vous

les

pas

mou

Zhe

gjl

staccatissimo

P. I

P. II

P. III

P. IV

T.d.b.

† clamando

777

T. 8

nf>

ta,

khe

tee,

Mar

kov

rjd

nï

chés,

vous

les

mal

tor

chés,

Les

culs

tout

nus,

les

vï

nb>

Vfh

ue,

rb>

sans

sou

liers!

goob nee

nt gtc yb!

gjq

kee,

poy t’e p’es nee!

Tous

ci!

(8)

P. I

(8)

P. II

P. III

P. IV

colla parte 3 3

T.d.b. main = Prendre un second tambour de basque

genou =

C.cl.s.t.

* Attaquez violemment sur le son „tou” et prolongez-le en descendant avec une intensité décroissante jusqu’au son „i”. Faire valoir le „t”, qui doit rappeler le claquement d’un projectile. [† Clamando: from Latin clamare, meaning to call, to convene.]

colla parte 3

110

!:tyb[jd lhe;rf ds,bhftn bp gjtp;fy jlyjuj ve;f b ;tye b dtl=n b[ j,jcgfnm lkz vjkjls[ gjcntkm.@ (Un ami de noces choisit parmi les invités un homme et sa femme et les envoie chauffer le lit pour les mariés.)

114 !Ltdeirb@ (Les filles) A tempo

783

S. „Cgfnm

„Spat’

„B

xe”

khe choo.”

„J’y

„Ee

va.”

„Prends

„Rj hj dfnm

c nj ,jq.”

s te boy.”

„Ke re vat’

moi.”

„Le lit est

M.s. T. 8

„Cgfnm

„Spat’

„B

xe”

khe choo.”

„j’y

„Ee

va.”

„Prends

„Rj hj dfnm

c nj ,jq.”

s te boy.”

„Ke re vat’

moi.”

„Le lit est

s. {dt nb cei

crf ;tn%

Yfc nfcm /i

Khv’e tee soosh ka ska zhet: Il

vjk dbn%

{dt nb

Nas tas’ yush ka mol veet:

dit comm’ ça:

Elle

cei

crf ;tn%

Khv’e tee soosh ka ska zhet:

dit comm’ ça:

P. I

P. II

P. III

P. IV

788

S. „<e

nt cyf.”

t’e sna.” é

„Boo

troit.”

„On

!e@

ltn

„Lt z

c yfc.”

(oo) d’et s nas.” s’ar rang’

ra.”

!e@

c yfc.”

„D’e ya

„<e

kj lyj.”

kho

le dno.”

„Tu sais,

les

draps

sont froids.”

„Lt z

kho

le dno.”

„Tu sais,

les

draps

sont froids.”

„Boo „On

M.s. T. 8

„<e

nt cyf.”

t’e sna.” é

„Boo

troit.”

„On

ltn

(oo) d’et s nas.” s’ar rang’

„D’e ya

ra.”

„<e

kj lyj.”

„Boo „On

s. Yfc nfcm /i

Nas tas’ yush ka Elle

P. I

P. II

P. III

P. IV

dit comm’

vjk dbn%

mol veet: ça:

{dt nb cei

crf ;tn%

Khv’e tee soosh ka ska zhet: Il

dit comm’ ça:

Yfc nfcm /i

vjk dbn%

Nas tas’ yush ka mol veet: Elle

dit comm’ ça:

111

115

793

S. ltn

ntg

kj.”

d’et

t’ep lo.”

les

chauff’ ra.”

M.s. T. 8

ltn

ntg

kj.”

d’et

t’ep lo.”

les

chauff’ ra.”

Nj {dt nb

C’est pour toi,

Fé

tis, qu’on chan te

To Khv’e tee soo p’e

P. I

cty rf>

xnj

shto yas ne

moo so

loo ee se

b’e ley l’e b’e doosh key,

,t kjq kt

lei rjq>

chan son

deux en

sem

ble. Pour la

fleur rouge et

blan che,

s’en ka, da

des

très fort

P. II

très fort

P. III

P. IV

116

798

S. Cks

Sli En

ibim kb>

{dt nbc

shish lee, Khv’e tees

tends

tu,

tends

Ujc

Ges

pe deen? Sli

gj lby* Cks

ibim kb> Gfv abkm

dbx*

tu,

Fé

tends

lié

vitch?

tis?

shish lee, Pam feel’ tu,

Pam

ye veech?

M.s.

P. I, III

P. II

P. IV

cdtn>

Yfc

qui

sont

sv’et, Nas

tas’

yey

Tee

yjq! Cks

ibim kb>

sem

ble

sur

bran

che.

tends

nfcm

f’e

yev

ney! Sli En

{dt nbc

shish lee, Khv’e tees

Cks ibim

tu,

kb>

tends

Ujc

Ges

pe deen? Sli

shish lee, Pam feel’

ibim kb> Gfv abkm

dbx*

tu,

Fé

tends

lié

vitch?

{dt nbc Ujc

gj lby* Cks tis?

gj lby* Cks

Sli shish

lee, Khv’e tees Ges

pe deen? Sli

tu,

Fé

tends

tu,

tis?

ibim

tu,

Pam

ye veech?

shish

lee, Pam feel’

kb> Gfv abkm

dbx*

tends

tu,

lié

vitch?

Pam

ye veech?

112

!Cdfn c gjtp;fyfvb@

117 (Le svat et les invités)

802

N’e

l’e

Qu’as

tu,

toi

e...

zhi

oo...

e rhe

b’e r’e

g’e,

à ron

fler,

com me

ça?

fler,

com me

oo kroo t’e

là bas,

ut>

unis.

s. Vs dfv gtc

Mi vam p’es De

y/ gj

=v> vs dfv xtcnm djp lf

n’yu pe yom, mi vam chest’ vaz de

fille et du

gar

çon, on vous chant’ la

chan

=v.

yom. son.

unis.

...e rhe

...oo kroo

...à

ron

t’e

b’e r’e

ut>

g’e, ça?

P. I, III

P. II

e sempre legatissimo

P. IV

e sempre legatissimo

118

808

B. Yt

N’e Eh!

lb>

dtkm /i rf>

bout,

ve liouch ka,

see dee,

Sa v’el’ yush ka,

Dj ,t

viens,

Ve b’e s’e

irt&

doo shk’e; mu e

toi!

Chz ;fq

Sr’ya zhay Y

Chz ;fq

P. II

P. IV

Sr’ya zhay Y

cdf lt,

sva d’eb de

cdf lt,

sva d’eb de

113

!Gjtp;fyt@

119 (Les invités)

814

T. 8

Pf cnj kjv ,j z ht>

Za ste lom be ya r’e, Nos mes sieurs sont ve nus,

B. re

koo quoi

{dt nb

Khv’e tee fai

par

là.

voo

J[!

Okh!

s. J[>

Où

Okh, na

z’e

l’ya,

oo v

b’e

v’e

s’el’ ya:

ctkm

s’a

muse,

boit,

où

boit,

tout

va.

eez b’e

kmz>

Pf cnj kjv ,j z ht>

Za ste lom be ya r’e,

Nos mes sieurs sont ve nus,

P. I, III

P. II

P. IV

Timb.

koo quoi...

114

120

820

2+3

T. 8

j yb v=l>

db yj gb kb>

e nee m’yod, vee no pee lee, Ils di

saient,

c’est

con nu:

ht xb uj

Nous, on sait

ht xb uj

Nous, on sait

ht xb uj

Nous, on sait

ht xb uj

Nous, on sait

r’e chee ge ve

kb%

ree

lee:

fai

re;

r’e chee ge ve

kb%

ree

lee:

fai

re;

„E

Chez nous

j yb v=l>

db yj gb kb>

e nee m’yod, vee no pee lee,

Ils di

saient,

c’est

con nu:

r’e chee ge ve

kb%

ree

lee:

fai

re;

r’e chee ge ve

kb%

ree

lee:

fai

re;

P. I, III

P. II

legatissimo

P. IV

legatissimo

Timb.

yz cdf

„Oo m’e n’ya sva

lt, rf

d’eb ka

les no ces sont fai

lb dj ce

na dee ve soo r’ya tes au tout fin,

;t yf>

zhe na,

115

121 825

S. Dt

len Yfc nfcm

/i re

tre

len Yfc nfcm

/i re

tre

V’e doot Nas tas’ yush koo Nas

M.s.

V’e doot Nas tas’ yush koo Nas

T. 8

lt cz nsq

d’e s’ya tiy

dfh

var

kt yf

z’e l’e na vee

xième est comme on n’en

yf.

na. point.

d’e

v’ya tee va

dz nb

hjd gb dj df ht

rov pee ve va r’e

no,

yj>

F lt cz nsq

Chez

nous on

boit

de neuf es pèces de

vin,

A d’e s’ya tiy la

dfh

var

kt yf

z’e l’e na vee

xième est comme on n’en

yf.

na. point.

len Yfc nfcm

/i re

tre

V’e doot Nas tas’ yush koo

t. 8

lt cz nsq

...lt

...d’e

Chez

...lt

P. I

P. II

P. III

P. IV

Timb.

dz nb df

...d’e

v’ya tee va

Chez

nous on boit

d’e s’ya tiy

dz nb

hjd gb dj df ht

rov pee ve va r’e

no,

yj>

F lt cz nsq

nous on

boit

de neuf es pèces de

vin,

v’ya tee va

hjd gb

neuf

lt cz nsq

dj df ht yj>

d’e s’ya tiy

es pèces de vin,

rov pee ve va r’e no, de

A d’e s’ya tiy

dfh

var

kt yf

xième est comme on n’en

dfh

var

kt yf

var

z’e l’e na vee

xième est comme on n’en

dfh

z’e l’e na vee

kt yf

z’e l’e na vee

xième est comme on n’en

yf.

na. point.

yf.

na. point.

yf.

na. point.

Nas

116

830

na choo zhoo sto

cnj

re noo,

ye>

Na choo zhoy ste

;jq

cnj

n’e

m’e

chee

ltd

rt>

s’en

pour

vie

terre

tran

gè

re.

Qu’el

che

fai

re,

d’ev k’e,

m’e

chee

;bnm !

tout

bien!

zhït’!

M.s.

na choo zhoo sto

cnj

re noo,

ye>

Na choo zhoy

;jq

cnj

n’e

m’e

chee

ltd

rt>

s’en

pour

vie

terre

tran

gè

re.

Qu’el

che

fai

re,

ste

d’ev k’e,

m’e

chee

;bnm !

tout

bien!

zhït’!

T. 8

...ltd

!b@nm !

...d’ev

k’e

zhï

(ï)t’!

...tout

bien!

B. ...ltd

m’e

Qu’el

ye>

ltd

che

chee d’ev

(ï)t’!

...tout

bien!

;bnm>

ltd

faire,

tout

cnj

re noo,

Na choo zhoy

;jq

cnj

n’e

m’e

chee

ltd

rt>

s’en

pour

vie

terre

tran

gè

re.

Qu’el

che

fai

re,

d’ev k’e,

!b@nm !

zhï

k’e

k’e zheet’, d’ev

na choo zhoo sto

ste

...d’ev

zhï

(ï)t’!

bien!

m’e

chee

;bnm !

tout

bien!

!b@nm !

k’e

zhït’!

t. 8

...ltd

P. III

P. IV

!b@nm !

zhï

(ï)t’!

...tout

bien!

P. I

meno

simile

k’e

P. II

...d’ev

117

122

834

S. Dct gj

rjh yjq

ltd rt>

dct

gj rjh yjq

,snm.

Qu’el

soit

se,

qu’el

Vs’e pe kor ney d’ev k’e, vs’e pe kor ney le

sou

ré

bit’.

gne.

rjh

kor

tê

M.s. Dct gj

rjh yjq

ltd rt>

dct

gj rjh yjq

,snm.

Qu’el

soit

qu’el

Vs’e pe kor ney d’ev k’e, vs’e pe kor ney le

sou

se,

ré

bit’.

gne.

T. 8

...ltd

,s !s@nm.

...tout

ra bien!

...ltd

,s !s@nm.

...tout

ra bien!

...d’ev

k’e

bi (i)t’.

...d’ev

dct

pour

gj rjh

yjq ltd

fil

tout

da vs’e pe kor

k’e

bi (i)t’.

ney d’ev

k’e

!s@nm.

(i)t’.

bien!

Dct gj

rjh yjq

ltd rt>

dct

gj rjh yjq

,snm.

Qu’el

soit

qu’el

Vs’e pe kor ney d’ev k’e, vs’e pe kor ney le

sou

se,

ré

bit’.

gne.

t. 8

...ltd

...d’ev

,s !s@nm.

ra bien!

k’e

tout

bi (i)t’.

P. I

P. II

P. III

P. IV

meno

poco

sempre sim.

yj !j@q

ne (e)y te

voosh k’e

v’ez

d’e

l’yu be

ré

gnée

faut

null’ part

dei rt

dtp

k/ ,j

118

2+3

839

!Ujcnb gj-jxthtlb@

(Les invités tour à tour)

123

S. ij>

B cnf hj ve

sho,

Ee sta re moo ee

kj ve

dc=

cous

sin.

Fais au pau vre comme

khe

le moo che

ybp

rbq gj rkjy>

vs’yo neez keey pe klon, jo

sou

re,

Me Et

le dim me à ton

kj lei

rfv

lo doosh kem

tit

M.s.

Me Et

kj lsv vj

le dim me à ton

kj lei

rfv

lo doosh kem

tit

T. 8

kj lsv vj

B cnf hj ve

Ee sta re moo ee

kj ve

dc=

Fais au pau vre comme

le moo che

ybp

rbq gj rkjy>

vs’yo neez keey pe klon, jo

sou

re,

Me Et

kj lsv vj

le dim me à ton

kj lei

rfv

lo doosh kem

tit

= Gj

oo lee

wt>

tout

long

= P. I

= P. II

= P. III

= P. IV

très fort

= 8b

Timb.

Xyl.

tse,

119

844

nee

zhe

ve.

uj.

z’e

l’yo

beau

coup

plus

li.

S’en

yjv

nem

(a) doo,

!f@

le>

dans

jar

din

vert

M.s. yb

nee

zhe

ve.

uj.

z’e

l’yo nem

yjv

(a) doo,

!f@

le>

beau

coup

plus

li.

S’en

dans

jar

din

vert

lbk>

rue

T. 8

nee

zhe

ve.

uj.

khe

beau

coup

plus

li.

dans

deel, goo

lee

tse

shi

hj rjq / kb

ro key yu lee tsi

Khe deel, goo

lbk>

rue,

tout

long

s’en va

çon;

Dans

rue

le gar

l’yal

kzk

d’ets.

ltw

tout

long,

s. Gj

...da

...lf

shi

hj rjq / kb

ws...

...tout

long

s’en va

çon,

ro key yu lee tsi... le gar

P. I

P. II

P. III

P. IV

Timb.

Xyl.

z’e

l’yo

S’en

dans

yjv

nem

(a) doo

!f@

le>

jar

din

vert

120

847

Nas

Yfc

tee

yfv

ckt

der

rièr’

Nas

nem sl’e

lfv>

ukz

sie,

d’el

sme

cvj

nhtk

{dt

gar

Nas

ukz

ltk

{dt

Nas

dam, gl’ya

ltk

tr’el Khv’e tee

soosh

cei

Nas

Yfc

t’yush

n/i

koo sve

cdj

yu:

garde

pen

se:

M.s. gj

Yfc

nb yfv

ckt

der

rièr’

Nas tee nem

sl’e

Nas

lfv>

dam, sie,

gl’ya

d’el

cvj nhtk

sme tr’el gar

Khv’e tee

soosh

cei

Yfc

Nas

t’yush

n/i

koo

cdj

sve

yu:

garde

pen

se:

T. 8

l’yal

kzk

kj ltw

vj kjl> vj kj ljq

tout

s’en va

le d’ets mo led, me le doy long

le gar çon,

B. Cdz pfk

Sv’ya zal Il

cdj

sve

voo shl’ya pey poo kho ve yu

ikz gjq ge

beau

pan

lon,

beau pan

[j dj / ta

lon.

Nas

tee

yfv

ckt

der

rièr’

Nas

Yfc

nem sl’e

lfv>

ukz

sie

dam, gl’ya

d’el

ltk

sme

cvj

nhtk

{dt

gar

Nas

tr’el Khv’e tee

soosh

Nas

t’yush

n/i

koo sve

cdj

yu:

garde

pen

se:

cei

Yfc

t. 8

...vj kjl> vj kj ljq

kty njq kb

...mo led, me le doy ...s’en va

l’en tey lee

le gar çon,

un cha peau

b. ikz gjq ge

[j dj /

shl’ya pey poo kho ve yu un 8

P. I

P. II

P. III

P. IV

Timb.

Xyl.

beau pan

lon.

kj dj /

lo ve yu

me lon.

121

124 850

2+3

meno

T. 8

E vj tq

e Yfc

Oo me yey oo Nas

n/i rb

t’yush kee

Chez ma Nas ta si’,

P. I

sub. meno

P. II

sub.

e legatissimo

P. III

sub.

e legatissimo

P. IV

sub.

e legatissimo

dé

gj [j

ljx rf

pe kho dech ka cha marche

est

lé

gè

cnf z>

sta ya,

re, Sa pe

Shoo

lisse est en

clamando

a tempo

Poco rubato

clamando

P. I

125

Yfc nz xth yj ,hj df z !

e poosh ka beb ro

un col

C.cl.s.t. Tmb.s.t.

va ya,

de cas tor.

vjx

re ds gb

Noot ka, re dee miy ba t’yush ka, r’yu mech koo vi pee

(pour le français) 3

les

lis sour cils noirs!

Bien, mon vieux, à

tempo 3

Yfc nz xth yj ,hj df z !

Nas t’ya cher ne bro va ya! (pour le français) 3

Ah!

les

colla parte

lis sour cils noirs!

, ,

colla parte

, ,

P. II, IV

df z>

clamando

sub. dolcissimo, legatissimo

, P. III

vec

Yen rf> hj lb vsq ,f n/i rf> h/

Nas t’ya cher ne bro va ya!

Ah!

clamando

va ya,

(Un des amis de noces)

Poco rubato

drap d’or

j gei rf ,j, hj

df z>

!Jlby bp lhe;tr@

(Les amis de noces)

rf yj

e legatissimo

!Lhe;rb@ 854

,jx

bech ka no

colla parte

sub. dolcissimo, legatissimo

c’coup

vid’

ton

122

!Jcnfkmyst lhe;rb b ;tyobys@ 857

(Les autres amis de noces et les femmes) dfq>

Yf ib[ vj kj ls[ j

lf hzq!

Yf ibv vj kj lsv

Na shikh me le dikh e de r’yay!

vay,

vyj

Na shim me le dim

mno

lj%

(pour le français)

de: e

na 3

verre!

puis n’ou bli’ pas les

ca deaux!

Aux jeun’ ma riés

il faut des tas

cho

ses.

Ça

pee

dfq !

c’est clair,

vid’

ton

verre!

vjx

Ça

c’est clair,

vjx

Ça

R’yu mech koo

vay!

hzq !

Vj kj ls[

r’yay!

N’ou bli’ pas

les

deaux!

Vj kj ls[

r’yay!

N’ou bli’ pas

les

deaux!

Me le dikh

a. t. 8

R’yu mech koo

pee

dfq !

vid’

ton

verre!

vay!

Me le dikh

hzq !

P. I

P. II

P. III

126 2+3

860

yb [j nzn lj vbi

nee khe t’yat de meesh

rjv ;bnm>

vbi rf ghb

veut d’a bord a

dbnm>

veet’, 3

(pour le français)

voir un’ bel

mai

kem zheet’, de meesh ka pree ba

son

y/ gjc nf

dbnm%

na oog loo ba n’yu pes ta v’eet’: 3

* !Yfgtdfz@

en suite ça

vou dra

l’a gran dir...

pfq

l=im

suite

ils

zay d’yosh da

(En chantant)

(pour le français)

vbi rf ghb

de meesh ka pree ba du

tout

dbnm

veet’ bon,

P. I

P. II

P. III

sub. en dehors

P. IV

[* Yfgtdfz: ‘singing’.]

l’em

123

863

hbim

cz>

reesh s’ya,

gjc

pos

ktq nj

bel

gj [df kbim cz% „Djn

ront,

l’ey te vo pe khva leesh s’ya: „Vot

(pour le français) 8

!Ujcnb@ (Les invités)

suite

ils

rfr

kak

cnf kb yf ib vj kj ls

van

nj ;bnm.”

sta lee na shi me le di ye

te zhit’.”

ront: N’est-c’ pas,

les

a mis,qu’on s’en tend à

bien

rj !

Ujhm

Gor’

vre?

ke!

(pour le français)

J[>

Okh, 3

vin

goût,

vous

t. 8

J[>

Okh,

J[>

Okh,

b. (pour le français)

...il

P. I

P. II

P. III

P. IV

vous

124

!;tyb[ b ytdtcnf wtke/ncz@ 866

(Le marié et la mariée s’embrassent)

S. J[> ytkm pz gbnm !

Okh, n’el’ z’ya peet’! faut

vjx

pee

dfq>

vin

goût,

pee

dfq>

vin

goût,

r’yu mech koo

crer!

vay,

M.s. J[> ytkm pz gbnm !

Okh, n’el’ z’ya peet’! faut

vjx

r’yu mech koo

crer!

vay,

T. 8

J[> ytkm pz gbnm !

Okh, n’el’ z’ya peet’! faut

crer!

ujhm rj !

gor’ ke!

Noo

zhe, noo

;t>

zhe

ye>

au cou...

Faut

boire

beau

coup,

shikh

vous

reste,

noo,

J[> ytkm pz gbnm !

Okh, n’el’ z’ya peet’!

faut

crer!

vjx

pee

dfq>

vin

goût,

pee

dfq>

vin

goût,

r’yu mech koo le

vay,

a. J[> ytkm pz gbnm !

Okh, n’el’ z’ya peet’! faut

crer!

t. 8

ujhm rj !

gor’ ke!

ujhm rj !

gor’ ke!

(pour le français)

reste

au cou...

P. I

P. II

P. III

P. IV

C.cl.s.t. Tmb.s.t.

[* This bar may be sung falsetto.]

vjx

r’yu mech koo le

ib[

(pour le français)

reste

vay,

125

127

869

S. vj kj

ls[

’lf

reste

cou!

ls[

’lf

hzq !

reste

me le dikh il vous

hzq !

de r’yay!

M.s. vj kj

me le dikh il vous

de r’yay! cou!

T. 8

vj kj

me le

il vous

ls[

’lf

reste

dikh

hzq !

de r’yay! cou! e leggiermente

vj kj

ls[

’lf

reste

cou!

ls[

’lf

hzq !

reste

me le dikh il vous

* T Ye

nf>

ta,

ye ta,

Cell’

là,

cell’ là

vaut

dans

nf>

hzq !

de r’yay!

a. vj kj

me le dikh il vous

de r’yay! cou!

P. I

P. II

P. III

P. IV

C.cl.s.t. sempre forte e secco

Tmb.s.t.

Grosse-c. secco e

* Ghjbpyjcbnm% “qtnf”.

sempre

[jnm

lf>

khot’ koo da, les

dix sous,

dix

sous,

b nf gthm

ee te p’er’ dix

sous,

126

128

873

B. cnj

he, kz>

rfr

sto

eet

roob l’ya,

kak

c’est

pas

beau coup,

Si,

e leggiermente

tq>

yey,

yey

ka ne doot’

rf yf lenm

nf re

ta koo

dva,

ldf>

dva da doot’.

ldf lf lenm.

on lui

fai

sait

un en fant,

elle

vau drait

deux

fois,

fois au tant.

b. ...f>

rfr

...a,

kak

...Si,

tq>

rf yf lenm

yey,

yey

ka ne doot’

on lui

fai

sait

un en fant,

...ldf lf lenm.

...dva da doot’. ...fois au tant.

P. II

P. IV

C.cl.s.t.

(sempre forte e secco)

Tmb.s.t. Grosse-c. (secco e

sempre)

878

!Lhe;rb@

!:tyobys@

(Les amis de noces)

(Les femmes)

T. 8

Djk

Vol

r’e

hfp

dans

mai

son

chan

raz

lee

cz>

tsa, te,

B. s.

Z’ya

teek

nbr

vant

a. t. 8

{jnm

puis

moi,

Khot’

!f@r>

ta (a)k,

[jnm

moi,

khot’

Djk

[jnm ,s nfr>

khot’ bi tak, je m’en fous,

[jnm

roob lee kev,

Mais

on,

on s’ra pas

khot’

Vol

r’e

hfp

dans

mai

son

chan

raz

lee

he, kb rjd>

te,

...he, kb rjd>

...[jnm ,s nfr>

...khot’ bi tak,

...roob lee kev,

...je m’en fous

...on s’ra pas

P. I

8b 8

P. II

P. III

8b 8

P. IV

C.cl.s.t. Tmb.s.t. Grosse-c.

cz>

tsa,

127

!Jlby bp lhe;tr@

129

(Un des amis de noces)

881

S. „F[

n=i

ya, t’yosh sha las

n=i if kfc

ke va

rj df

ya!”

„Où es

ne?

Où

mé chan

te?”

if vj

z!”

„Akh t’yosh sha me vi

lai

M.s. „F[

n=i

ya, t’yosh sha las

n=i if kfc

ke va

rj df

ya!”

„Où es

ne?

Où

mé chan

te?”

if vj

z!”

„Akh t’yosh sha me vi

lai

Fq> ds lhe;

Ay, vi droozh kee

T. (pour le français)

Eh,

B. „F[

n=i

ya, t’yosh sha las

n=i if kfc

ke va

rj df

ya!”

„Où es

ne?

Où

mé chan

te?”

if vj

z!”

„Akh t’yosh sha me vi

lai

s. hjn

rot

oo bee

tsa:

cz%

porte

men

te:

„F[

n=i

ya, t’yosh sha las

n=i if kfc

ke va

rj df

ya!”

„Où es

ne?

Où

mé chan

te?”

if vj

z!”

„Akh t’yosh sha me vi

lai

a. t. 8

„F[

n=i

ya, t’yosh sha las

n=i if kfc

ke va

rj df

ya!”

„Où es

ne?

Où

mé chan

te?”

if vj

z!”

„Akh t’yosh sha me vi

lai

b. [jnm

gznm

keg

s’ra

pas

c’est

khot’

p’yat’ bout.

rju

mon sieur

P. I

8b 8

P. II

8b 8

P. III

8b 8

P. IV

(sempre forte e secco)

C.cl.s.t. Tmb.s.t.

Grosse-c. (secco e

sempre)

là

128

!Cdfn> j,hfofzcm r uht/obv gjcntkm@

(Le svat au couple qui chauffe le lit)

885

...e

rkt njx re pdf kf.

...oo kl’e tech koo zva la.

(pour le français)

La voi

là qui bou de. 3

...e

M.s.

rkt njx re pdf kf.

...oo kl’e tech koo zva la.

(pour le français)

La voi

là qui bou de.

ckt gs> xnj ltd rf lt nby rt ,j rf ghj nj krf kf

sl’e pi, shto d’ev ka d’e teen k’e be ka pre te lka la

(pour le français)

bas n’a

vez

vous pas

que la fille n’y tient plus?

s’est tour née vers lui.

F jn lf kb yfv

A et da lee nam

lt dre> jn

d’e vkoo, et

(pour le français)

Pour qu’elle

lfq nz gjc ntkm re!

day t’ya pes t’el’ koo!

bou

de mieux,faut la mettre au lit.

s. ...le pouss’ du cou de, 3

b. ,e

P. I

P. II

P. III

P. IV

C.cl.s.t. Tmb.s.t.

Cym. Grosse-c.

boo

d’et

ltn

ndj z xtcnm>

qui

sort,

sort l’ar gent,

tve ya chest’,

[jnm

Ça,

ça

khot’

he, kb rjd>

roob lee kev, lui cou t’ra

[jnm

she (e)st’.

!t@cnm.

dans

les

cent

francs.

khot’

129

J,juhtdf/obt gjcntkm dsktpf/n bp yt=. Atnbcf b Yfcnfcm/ dtlen r gjcntkb> erkfksdf/n b[> pfgbhf/n ldthm b jcnfdkz/n jlyb[. Hjlbntkb ;tyb[f b ytdtcns ecf;bdf/ncz yf crfvmt gthtl ldthm/. Dct j,hfotys r ybv kbwjv. Ceux qui chauffent le lit sortent. On conduit Fétis et Nastasie jusqu’au lit et on les couche après quoi on les laisse seuls et on ferme la porte. Les deux pères et les deux mères s’installent devant la porte sur un banc, tout le monde leur faisant face. 888

130

S. Gfc nt kmz vj z>

Pes t’e l’ya me ya, Le beau lit

bien fait,

rf hf

le beau

lit

rf hf

le beau

lit

ke re

nei rf !

toosh ka! car

yf gt hb

yei

et tout à

cô

té

yf gt hb

yei

et tout à

cô

té

yf gt hb

yei

et tout à

cô

té

na p’e ree noosh k’e

ré!

oo z ge

M.s. Gfc nt kmz vj z>

Pes t’e l’ya me ya, Le beau lit

bien fait,

Gfc nt kmz vj z>

Pes t’e l’ya me ya, Le beau lit

bien fait,

ke re

rf hf

ke re

le beau

lit

nei rf !

toosh ka! car

na p’e ree noosh k’e

ré!

nei rf !

toosh ka! car

na p’e ree noosh k’e

ré!

Yf rf

Des sus

lit

Na ke re

nei rt

yei

plu

toosh k’e p’e ree noosh

oo z ge

mier,

t. 8

Gfc nt kmz vj z>

Pes t’e l’ya me ya, Le beau lit

bien fait,

rf hf

le beau

lit

ke re

nei rf !

toosh ka! car

ré!

Na ke re

Yf rf

Des sus

lit

nei rt

yei

sub.

P. II

sub.

yei

et tout à

cô

té

plu

oo z ge

toosh k’e p’e ree noosh

ka mier,

P. I

yf gt hb

na p’e ree noosh k’e

gliss.

5 5

P. III

sub.

P. IV

sub.

gliss.

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. kj

e’ puj kj dmb wf

dmb wf>

v’ee tsa,

l’o

reil ler,

oo zge lo v’ee tsa et sous l’o

lb z

e dee ya

reil ler,

lee

les draps bien lis

M.s.

T. 8

lf yf gt

da na p’e ree Et l’o reil

yei

e’

noosh k’e

ler,

se tient

puj kj dmb wf>

zge lo v’ee tsa,

tout

à cô

té.

v’ee tsa,

l’o

reil ler,

e’ puj kj dmb wf

dmb wf>

v’ee tsa,

l’o

reil ler,

oo zge lo v’ee tsa et sous l’o

yf gt hb

yei

Et tout à

cô

té

na p’e ree noosh k’e

e’ puj kj

v’ee tsa,

l’o

reil

oo zge lo v’ee tsa et sous l’o

ler,

lb z

reil ler,

e’ puj kj dmb wf

dmb wf>

oo zge lo

e dee ya

lee

les draps bien lis

lb z

e dee ya

reil ler,

lee

les draps bien lis

t. 8

e’ puj kj dmb wf

dmb wf>

v’ee tsa,

l’o

reil ler,

oo zge lo v’ee tsa et sous l’o

lb z

e dee ya

reil ler,

les draps bien lis

b. e’ puj kj dmb wf>

oo zge lo v’ee tsa, tout

cô

té.

gliss.

P. I

8 5

P. II

gliss.

P. III

P. IV

Son réel

Cloche genou

T.d.b. *

Sons réels

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.

lee

131

2+3

896

S. wf.

tsa. sés.

M.s. wf.

Dj hj ,tq dj hj,

he tn>

tsa.

Ve re b’ey ve rob

koo

roo yet,

sés.

Et le moi neau a

trou

vé

son nid,

T. 8

Gjl lb z kb wjv

lj, hsq

Ped dee ya lee tsem dob riy Et sous les draps voi

kj ltw>

le d’ets,

là quel qu’un qui s’est ca ché.

B. Lj, hsq

Dob riy C’est Fé

mo tis,

ltw

{dt

cei rf>

d’ets Khv’e tee c’est Fé

tis

soosh ka, le

fri sé,

wf.

tsa.

sés.

Dj hj ,tq dj hj,

wf.

roo yet,

sés.

Et le moi neau a

trou

vé

son nid,

wf. sés.

b. {dt

Fé

tis

cei rf>

Khv’e tee 8

P. I

P. II

P. III

poco

Timb.

Cloche 8

Crot.

he tn>

koo

tsa.

P. IV

Ve re b’ey ve rob

t. 8

tsa.

staccatissimo

soosh ka, le

fri sé,

132

132 901

S. {dt nb !b@

cei

Khv’e tee (ee) soosh ka La tient

contr’ lui,

Yfc nfcm

/i re wt

Nas tas’ yush koo tse l’a

se dans

bn>

son

lit,

bn>

son

lit,

loo eet,

M.s. gj

Tient

lbd ib

dfnm>

con

tre

lui,

deev shi mel

vat’,

{dt nb !b@

cei

Khv’e tee (ee) soosh ka La

tient

contr’ lui,

Yfc nfcm

/i re wt

Nas tas’ yush koo tse l’a

se dans

loo eet,

T. 8

{dt

Khv’e

!t@

nbc

(e) tees

Fé

Gfv

Pam

tis

fee

kmt

dbx.

lié

vitch.

l’ye veech.

wt ke

Yon tse loo eet Il

mis sur

fausset

{dt nb !b@

cei

Khv’e tee (ee) soosh ka La tient

Tient

lbd ib

deev shi fe

mel

dfnm>

con

tre

lui,

vat’,

{dt nb !b@

contr’ lui,

cei

Khv’e tee (ee) soosh ka La tient

contr’ lui,

Yfc nfcm

/i re wt

Nas tas’ yush koo tse l’a

Yfc nfcm

se dans

/i re wt

Nas tas’ yush koo tse l’a

se dans

bn>

son

lit,

bn>

son

lit,

loo eet,

t. 8

wt ke

Yon tse loo eet Il

b. 8

P. I

P. II

P. III

P. IV

Timb. genou

T.d.b. C.cl.à.t. Tmb.à.t. Cym. Grosse-c.

mis sur

133

905

S. yf hex

re rkf

l=>

na rooch koo kla l’a

se,

d’yo,

rs cth ltx

ki s’er d’ech koo

l’a mi

sur

son

rs cth ltx

M.s. T. 8

son

bras

son

bras

bn yf hex

re rkf l=n>

mee loo eet na rooch koo kla d’yot, sa

Nas

ta siouch ka,

B. bn yf hex

re rkf l=n>

yf hex

rkf

sur

son

mee loo eet na rooch koo kla d’yot, na rooch koo kla sa

Nas

ta siouch ka, l’a mi

l=>

d’yo, bras,

l’a

cth ltx

;v=

ki s’er d’ech koo

zhm’yo

cœur:

sur

son

yf hex

re rkf

l=>

na rooch koo kla

l’a

se,

yf hex

re rkf

l=>

na rooch koo kla

son

bras

son

bras

bn yf hex

re rkf l=n>

mee loo eet na rooch koo kla d’yot,

Nas

l’a

se,

d’yo,

yf hex

re rkf

l=>

na rooch koo kla

ta siouch ka,

d’yo,

l’a

se,

d’yo,

bn yf hex

re rkf l=n>

mee loo eet na rooch koo kla d’yot, sa

Nas

ta siouch ka,

P. I

gliss.

P. II

P. III

P. IV

gliss.

5 5

genou

T.d.b. C.cl.à.t. Tmb.à.t. Cym. Grosse-c.

ki s’er d’ech koo

l’a mi

sur

son

rs cth ltx

ki s’er d’ech koo

l’a mi

sur

son

rs cth ltx

ki s’er d’ech koo

l’a mi

sur

son

134

133 Meno mosso

909

= 80

S. ;v=%

zhmyo: cœur:

M.s. T. 8

...;v=%

...zhmyo: ...cœur:

B. „F[>

...;v=%

...zhmyo:

lei rf>

„Akh, ti doosh ka,

...cœur:

„Eh

bien,

mon â

zho me,

yei

rf>

Lfy

dou

ceur,

fleur

noosh ka,

Dan

na ya me

ukz

pe gl’ya

de mes jours, Miel

;v=%

zhmyo: cœur:

a. ;v=%

zhmyo: cœur:

t. 8

;v=%

zhmyo:

cœur:

P. I

P. II

P. III

P. IV

Cloche

Crot.

916

B. ltym

d’en’ ya, mes

yjx

miel

nech na

nuits,

ya mes

nuits,

zhï

fleur

vie,

d=v

c nj

,jq

vra

vec

toi,

v’yom mi

s te

boy

P. I, II P. III, IV

Cloche

Crot.

135

134 922

B. [f

comme il

faut

kha ra

she

ybx

rf>

qu’on

vive,

neech ka,

xnj

yfv

Pour

qu’on

nous

vi’,

shto

l’yu dee

nam

vee

kb. ”

pour

qu’on

fasse

vie.”

lee.”

P. I, II P. III, IV

Cloche

Crot.

928

Pfyfdtc jgecrftncz vtlktyyj d ghjljk;tybt dctq gjcktle/otq vepsrb. Le rideau se baisse lentement durant toute la musique suivante.

135

B. 8

P. I, III

P. II, IV

Cloche

Crot.

935

, ,

P. I, III

, ,

P. II, IV

Cloche 8

Crot.

942

P. I, III

P. II, IV

Cloche

Crot.

L’instrumentation achevée à Monaco le 6 avril 1923 Engraved by New Notations London