The Chester Stravinsky Edition
Renard (BAIKA PRO LISU, PETUKHA, KOTA DA BARANA) Histoire burlesque chantée et jouée composée par
Igor Stravinsky French text by C.-F. Ramuz In a revised and corrected edition based upon relevant autograph and printed sources
edited by
Millan Sachania
Chester Music London/New York/Paris/Sydney/Copenhagen/Berlin/Madrid/Tokyo
Igor Stravinsky: Renard study score CH73106 ISBN 978-1-78305-676-7
Music setting by Stephen Gibson, New Notations London Cover by ChloĂŤ Alexander Design
Š 2014 Chester Music Ltd. Published in Great Britain by Chester Music Limited Head office: 14-15, Berners Street, London W1T 3LJ, U.K.
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All Rights reserved Printed in Great Britain No part of this publication may be copied or reproduced in any form or by any means without the prior permission of Chester Music Limited.
CONTENTS
Select Sources
v
Editorial Method
vii
Critical Commentary
ix
Acknowledgments
xxv
Notes on the Texts and Transliteration liii MARGARITA MAZO, DINA LENTSNER, MILLAN SACHANIA
Les Noces Acknowledgments MARGARITA MAZO & MILLAN SACHANIA
1 136
SELECT SOURCES
Abbreviations of libraries and archives in source identifications BL British Library, London LoC Library of Congress, Washington D.C.
MLM Morgan Library & Museum, New York PSF The Stravinsky Archive, Paul Sacher Foundation, Basel, Switzerland
Txt-1
Text (based on a Russian fable) and scenario by Igor Strawinsky (trans. Charles Ferdinand Ramuz). PSF.
Txt-2
Text (manuscript of Charles Ferdinand Ramuz). 17 pp. PSF.
Skk
Sketches (with Russian text). 115 pp. + 6 pp. in Sketchbooks II and III. Dated 1916. PSF.
VS
Autograph manuscript of piano-vocal score, without March. Bound in cloth, 41 pp. Signed and dated Morges, ‘1 August 1916, at noon, sky without clouds’ [in Russian, trans. Eric Walter White, Igor Stravinsky: The Composer and his Works (London and Boston, 1966)]. Pasted onto the second page is Stravinsky’s contract with the Princesse Edmond de Polignac. This page also has an autograph marginal annotation by Stravinsky, in lead pencil: ‘La Princesse Edmond de Polignac possède le manuscrit original de la part. d’orch. de Renard I Strawinsky’. PSF.
Prf-1
Proof of title page of vocal score. Edition Ad. Henn, Genève. Autograph annotations and corrections by Stravinsky. PSF.
Prf-2
Proof of piano-vocal score. Edition Ad. Henn, Genève (Suisse), 1917. Plate no. A.66.H. Autograph lead pencil corrections by Stravinsky. ‘Morges 1916’ printed on final page. PSF.
PR-1
Printed piano-vocal score. J. & W. Chester, 1917. Plate no. J.W.C. 9716.
PR-1a
Stravinsky copy of PR-1. Autograph corrections on p. 25 to metrically misaligned tenor 1 line (which is not corrected in Prf-2) in red pencil and black ink on manuscript paper pasted over the printed tenor 1 stave. Signed by Stravinsky on front cover. ‘Morges 1917’ printed on final page. PSF.
PR-1b
Reprinted piano-vocal score. Chester Music Ltd., 1917, 1996. Plate no. CH09716.
M
Fair copy of March (instrumental score). 4 pp. Continues to first 5 bars of next section. Not dated. PSF.
FS-1
Manuscript of full score. Private ownership; see Sylvia Kahan, Music’s Modern Muse: A Life of Winnaretta Singer, Princesse de Polignac (Rochester, NY, 2003), p. 465, n. 74.
FS-2
Manuscript of full score. Opening and closing March in autograph, the remainder in a copyist’s hand. BL: on loan from Chester Music.
SS
Manuscript sketchbook of condensed score, formerly owned by Artur Rubinstein. 77 pp., bound. This comprises a series of sketches of the full score, in short-score format, which indicate a number of differences from the published version of the work, for instance in the orchestration, articulation, and barring and metre. MLM: on loan from Robert Owen Lehman.
Prf-3
Proof of full score. Bound in beige linen boards, with ‘Igor Stravinsky – “Renard”’ on the spine and gold lettering on red leather. Stamped ‘2.Korrektur 31.Juli 1929’ on page 1, with Stravinsky’s request in German, dated 31 August 1929, that there be a third set of proofs with corrections. Autograph corrections and annotations by Stravinsky. LoC: Robert Craft Collection.
PR-2
Printed full score. Copyright 1917 by Ad. Henn. J. & W. Chester, Ltd., London. Plate no. J.W.C. 60a.
PR-2a
Stravinsky copy of PR-2. Hardback with plain brown cover, signed by Stravinsky on top right of front cover and with ‘Chester Library’ stamped near the bottom. ‘Morges 1916’ printed on final page, with ‘WaldheimEberle, Wien VII’ identified as the printer/engraver. Autograph corrections and annotations by Stravinsky and possibly by Robert Craft. Includes English translation in red pencil. The autograph annotations include dynamic markings, the addition of new instrumental lines (e.g. a new bassoon part in bars 21–24 and 55–62), some rewriting of instrumental parts (e.g. a revised trumpet part in bars 448–55) and some vocal rewriting, revisions to time signatures and metronome markings. PSF.
v
vi
Select Sources
PR-2b
Stravinsky copy of printed miniature score. Paperback. Copyright 1917 by Ad. Henn. J. & W. Chester, Ltd., London. Plate no. W.Ph.V. 176 J.W.C. 60a. Autograph corrections by Stravinsky, in red and lead pencils. ‘Morges 1916’ printed on final page. PSF.
PR-2c
Stravinsky copy of printed miniature score. Paperback. Copyright 1917 by Ad. Henn. J. & W. Chester, Ltd., London. Plate no. W.Ph.V. 176 J.W.C. 60a. Brown paper cover with label ‘Chester’s Circulating Music Library’, and stamped ‘Property of G. Schirmer, Inc.’; ‘not for sale’; ‘supplied on loan only’. ‘Morges 1916’ printed on final page. Autograph corrections and annotations by Stravinsky and possibly by Robert Craft in lead pencil and blue ball-point pen. Includes an autograph sketch by Stravinsky of a seating plan, annotated ‘Sitting [sic] in my Los Ang Chamber music concert, Nov 20/55 I Str’. PSF.
Rev-1
Autograph draft (fragment). 3 leaves (5 pp.). ‘Tentative replacement of Cymbalum [sic] by piano’ inscribed on top of first page. Signed and dated ‘IStr 1940’. PSF.
Rev-2
Klavierstimme (as a replacement for the cimbalom). 15 pp. Autograph inscription by Stravinsky on first sheet, in pink pencil, ‘RENARD | Piano arrangement replacing the part of Hungarian Cimbalum [sic]’, signed and dated, ‘IStr | March/53’. Other annotations possibly by Robert Craft. PSF.
Rev-3
Autograph draft of tenor and bass voice parts (fragment), with English text. 3 leaves (6 pp.). On notepaper of The Lombardy, 111 East 56th Street, New York 22, N.Y. First page labelled ‘Fox-RENARD | from No. [81] till [90] | new English text for 2 singers | (tenor & basso) | by | I Stravinsky | April 14/50’. PSF.
EDITORIAL METHOD
in order to accommodate the corrections and amendments made during the proofing process – corroborating these, as far as it is possible, with the annotations made in Prf-2. This edition does, however, evaluate variant readings from FS-2 or PR-2, particularly where they provide more detail, impart a greater level of complexity (for instance in terms of articulation or dynamics), or (as in bars 5–7) suggest a rethinking of the vocal scoring. All such readings incorporated into the present edition merit a remark in the Critical Commentary. This edition references other sources to corroborate, justify or contextualise editorial decisions. These include scores in Stravinsky’s possession, PR-2a, PR-2b, PR-2c, which include a number of annotations in Stravinsky’s hand. A number of these annotations are generally of more historic than editorial significance, though: being ex post facto, they give a fascinating insight into Stravinsky’s changing thought processes in subsequent decades, but as such have no place in an edition such as this, which attempts to give the best reading of the score in relation to the period of its composition. Again, any details from these and other sources incorporated into the present edition are referenced in the Critical Commentary.
FS-2, a copy of the full score (with the March in autograph), serves as a principal source for the instrumental parts, in the absence of access to FS-1 (the autograph manuscript of the full score, which is in private ownership). The present edition cannot, however, rely solely on FS-2. FS-2 and PR-2 (the published full score) present a number of differences in terms of articulation, dynamics, instrumentation and other details, all of which indicate revisions undertaken during the proofing stage. A number of the differences between PR-2 and FS-2 are congruent with the handwritten corrections in Prf-3; but Prf-3 reveals only part of the journey between the production of FS-1 and FS-2 and the publication of the full score. Thus the present edition evaluates the different readings of FS-2 and PR-2, and generally accommodates without reference in the Critical Commentary the layer of extra detail provided by PR-2 with respect to articulation, dynamics and so on. The Critical Commentary remarks only on those differences between the two sources that provoke interest and does not document indisputable errors in FS-2 which are corrected in PR-2. For the vocal parts, the present edition takes VS (the autograph vocal score) as a principal source, but again considers the reading of PR-1 (the published vocal score),
vii
CRITICAL COMMENTARY
Abbreviations used in the Critical Commentary T B Fl. Picc. Hb. Cor ang. Cl. picc. Cl. Bn Cor Tr. Cymb. Timb. Cym. G.c. T.d.b. C.cl. Triang.
= = = = = = = = = = = = = = = = = =
Vn 1 Vn 2 Alt. Vc. Cb. IS OM CM
Ténor Basse Flûte Piccolo Hautbois Cor anglais Clarinette en mi bémol Clarinette en si bémol / en la Basson Cor Trompette Cymbalum Timbales Cymbales Grosse caisse Tambour de basque Caisse claire Triangle
= = = = = = = =
Violon 1 Violon 2 Alto Violoncelle Contrebasse Igor Stravinsky Opening March (at the beginning of the work) Closing March (at the end of the work)
Pitches are specified by the Helmholtz system:
8
15
8 C2
C1
C
c
c1
c2
c3
c4
March In the present edition, the closing March precisely replicates the first part of the opening March, save for the final note in the cymbals and bass drum, which follows FS-2 in being marked ‘étouffez’ (in the opening March) and ‘secco’ (in the closing March). M and FS-2 have similar idiosyncrasies, suggesting either that they derive from the same source or that one is copied from the other.
FS-2 gives the March (which literally translates from the Russian as ‘Procession’) in autograph both at the beginning and at the end of the work, the closing March in a truncated form without the middle section. Some details in the opening March (for example the stipulation sempre ff e marcatissimo) are not present in the closing March of FS-2; the texture is also thinner in places. In a word, the closing March of FS-2 generally lacks the detail of the opening. Bar
Instrument / voice Remark PR-2: q = 126 in OM and CM; here q = 152 as in M, Prf-2, PR-1, FS-2
1 1
Cym, G.c.
FS-2: no f in OM or CM; here as inserted by IS in Prf-3 OM and as printed in PR-2
4
Bn
FS-2 OM, M: bb quaver, rather than the triplet semiquaver group at the end of the bar; here as FS-2 CM, where IS has squeezed in the triplet group, with a slur over the bar line
4–5
Tr.
FS-2: bar 4 note 2 to bar 5 note 1 not present in CM; here as in FS-2 OM, M. PR-2 CM has these notes, but the slur is over bar 4 notes 2–4, not over the bar line.
5
Bn
FS-2 CM: >s to notes 2, 3; here as in FS-2 OM, M
6
Bn
FS-2 OM, M: no > to note 5; here as FS-2 CM
7
Bn
FS-2 OM, M: no > to note 1; here as in FS-2 CM
8
Tr.
FS-2 OM, M: no > to note 2; here as in FS-2 CM
20–32
FS-2 OM has a part for triangle, which has been struck out; the triangle is played in bars 20 beat 2, 23 beat 2, 26 beat 2, 29 beat 2, and 32 beat 2
ix
x
Critical Commentary
23
Picc.
FS-2 OM, M: no > to note 2; here by analogy with bars 20, 26
24, 27, 30, 33
Cym.
>s by analogy with bar 21
27–33
Picc.
FS-2 OM, M: no >s; here by analogy with bars 20–26
33
Cor 1
FS-2 OM, M: no slur to notes 2–3; here by analogy with bar 27
34
Picc., Hb., Picc., Cor 1
FS-2 OM, M: note 1 is q, not e; here as in PR-2
34
Picc.
FS-2 OM, M: no >s to notes 3, 4 (which are instead conjoined by a slur); here as in PR-2
34
Cor 1
FS-2 OM, M: no > to note 2; here as in PR-2
34–35
Cor 2
FS-2 OM, M: slur over bar line from bar 34 note 1 to bar 35 note 3; here as in PR-2
34, 35
Picc., Hb.
FS-2 OM, M: no >s; here as in PR-2
Renard Bar
Instrument / voice Remark
1
T1
VS, PR-1, FS-2: no f ; here as in PR-2
5
B1
f is editorial
5–7
B1
VS, Prf-2, PR-1: this part is sung by T2, not B1; here as in M, FS-2, PR-2
7
Cl.
FS-2: mf; here as in PR-2
12
Cor 1, Cor 2
FS-2: no
13
Fl.
FS-2: tenuto lines, not >s, to notes 2, 3; here as in PR-2
13
Bn
FS-2: tenuto lines, not >s, to notes 1, 2, 3; here as in PR-2
15
T2
FS-2: no f; here as in VS, PR-1
15
Fl.
FS-2: possibly wedges, not •s to notes 1, 2, 3, 4, 5; tenuto lines, not >s to notes 6, 7; here as in PR-2
15
Bn
FS-2: tenuto lines, not >s, to notes 1, 2; here as in PR-2
15
Tr.
•s by analogy with bar 12
16
Fl., Bn
FS-2: tenuto line, not >, to note 2; here as in PR-2
17
Cor 1
FS-2: mf, not f; here as in PR-2, where this part is marked ‘Solo’ (omitted in the present edition)
17, 18
Vn 2
FS-2: wedges (or possibly •s) to octave Gs; here as in PR-2
21
B2
f is editorial
27
Cymb.
PR-2: no >; here as in FS-2
28
Cor 1
FS-2: mf, not f; here as in PR-2
41
T1, T2, B1, B2
VS, PR-1: note 2 is q, not e; here as in FS-2, PR-2
43
Fl.
FS-2: no > to note 2; note 3 is q, not x ; here as in PR-2
44, 45, 47, 50
Tr.
•s to notes in quintuplet groups by analogy with bars 12, 15, 41
45
T1, T2, B1, B2
VS, PR-1: note 1 is q, not e; here as in FS-2, PR-2
46
Fl.
FS-2: tenuto lines to notes 2, 3, not >s; here as in PR-2
48
Fl.
FS-2: tenuto line, not >, to note 2; here as in PR-2
49
Cor ang.
PR-2: no •s to notes 1, 2, 3, 4, 5; here as in FS-2
; here
in Cor 1 from PR-2; in Cor 2 by analogy
Critical Commentary
62
xi
VS, Prf-2, PR-1, FS-2: no double bar line at end of bar; here as in PR-2
63
Cor ang.
FS-2, PR-2: no > to note 4, which is erroneously omitted owing to a ‘7’ tuplet numeral in its position
63
Bn
mf from SS
63
Cymb.
ff from SS
67
Vc. 1, Vc. 2
p is editorial
67
Cb.
PR-2: no p; here as in FS-2. FS-2: no poco sf (sempre); here as in PR-1, PR-2.
67–72
Vc. 2
FS-2: sul sol; glissando line between notes 1 and 2. These performance indications apply to bars 68–72 owing to sempre simile in bar 68. Here omitted, as in PR-2 (also omitted in PR-2 in the parallel bars 263–68).
67–72
Cb.
FS-2, PR-2: no arco, hence pizz. prevails; here as in PR-2c, where ‘arco’ is annotated; also as in bars 263–69 in PR-2
68
T1
p is editorial
71
T1
PR-2: breath mark after note 4 (prior to e 2 note 5); here omitted, as in FS-2, PR-1 and bar 267
76 77
FS-2, PR-2: no double bar line at end of bar; here as in VS, Prf-2, PR-1 T2
84
p is editorial colla parte is editorial
84
Cymb.
FS-2: mf, not sf; here as in PR-2
85
T1
FS-2: a tempo over note 3; here as in VS, PR-1; no sf to note 1; here as in VS, PR-1, PR-2. p to note 2 from VS, PR-1.
85
T2
VS: poco rall., not rall.;
85
Cymb.
FS-2: no sim.; here as annotated in Prf-3 and in PR-2
86
between notes 1 and 2; here as in PR-1
a tempo is editorial
86
Cl.
FS-2, PR-2: note 4 is F; here spelt E#, by analogy with bar 88
88
Tr.
FS-2: con espressivo; here as in PR-2
90 90
PR-2: no double bar line at end of bar; here as in VS, Prf-2, PR-1, FS-2 Vn 1
91
FS-2: no slur between f #1 and c#1; here as in PR-2 mixture of 4/8 and (4/8) across the staves in FS-2; 2/4 in VS, PR-1; cautionary 4/8 = 2/4 at the end of bar 90, but 2/4 at the beginning of bar 91 (which is on a new page) in PR-2; here 4/8 = 2/4
91
T1
f by analogy with bar 1. VS: •s to notes 2, 3, not tenuto lines; here as in PR-1, PR-2.
91
Cb.
FS-2: no arco; here as in PR-2
91–94
T1
PR-2: these bars are erroneously assigned to T2; here as in VS, PR-1, FS-2
93
T1
VS, PR-1: no hairpins; here as in FS-2, PR-2
94–99
Vc., Cb.
FS-2: no wedges; here by analogy with bars 91–93
95, 96–97
Picc.
FS-2: the jjiq gesture is not present; here as in PR-2
96, 97
Hb.
>s by analogy with bars 91–95
98
Bn
FS-2: note 6 is a #, not c#1; here as in PR-2 and as suggested in PR-1
100
3
(colla parte) is editorial
xii
Critical Commentary
100
3/4 in VS, PR-1, PR-2; 6/8 in FS-2; here 3/4 = 6/8
100
T2
VS, PR-1: no s over notes 3–4, 5–6, 7–8; no > to note 9; to notes 5–8, not notes 3–11; to notes 9–11; here as in FS-2, PR-2. p is editorial.
101
T2
FS-2, PR-2: no > to note 2; no over triplet; here as in VS and by analogy with bar 103. PR-1: no a tempo; here as in VS, FS-2, PR-2.
101, 103
Vc.
FS-2: no (arco) to note 6; here as in PR-2
103
T2
PR-1: no a tempo; here as in VS, FS-2, PR-2 (editorial in the instrumental parts). PR-2: > to note 1; here omitted as in VS, PR-1, FS-2. PR-1, FS-2, PR-2: no p to note 1; here as in VS.
104
VS: (6/8), not 6/8; here as in Prf-2, PR-1, FS-2
107
VS, PR-1, FS-2: no 3/4 (prevailing 6/8); here as in PR-2
108
(4/4) 8/8 in T2 and 4/4 (8/8) in the piano in VS; (4/4) 8/8 in PR-1, FS-2; 4/4 (8/8) in PR-2; here 4/4 = 8/8
108
T2
109
FS-2, PR-2: no > to notes 3, 5; here as in VS, PR-1. VS, PR-1: no notes 2–3, 4–5; here as in FS-2, PR-2.
(3/4) 6/8 in T2 and 3/4 (6/8) in the piano in VS; (3/4) 6/8 in PR-1, FS-2; 3/4 in PR-2; here 3/4 = 6/8
109
T2
PR-1, FS-2, PR-2: no > to notes 3, 5; here as in VS
109
Cymb.
FS-2: dim., not sempre simile; here as in PR-2
111 111, 114
s over
(2/4) 4/8 in T2 and 2/4 (4/8) in the piano in VS; (2/4) 4/8 in PR-1, FS-2; 2/4 in PR-2; here 2/4 = 4/8 Vn 2, Alt.
FS-2: bar’s rest; here as in PR-2
112
(3/4) 6/8 in T2 and 3/4 (6/8) in the piano in VS; (3/4) 6/8 in PR-1, FS-2; 3/4 in PR-2; here 3/4 = 6/8
113
(2/4) 4/8 in T2 and 2/4 (4/8) in the piano in VS; (2/4 ) 4/8 in PR-1, FS-2; 2/4 in PR-2; here 2/4 = 4/8
114
(3/4) 6/8 in T2 and 3/4 (6/8) in the piano in VS; (3/4) 6/8 in PR-1, FS-2; 3/4 in PR-2; here 3/4 = 6/8
114
FS-2, PR-2: no double bar line at end of bar; here as in VS, Prf-2, PR-1
123, 125
Cor 2
FS-2: note 1 is f #1, not f §1 (although the tie over the page break between bars 122 and 123 from a preceding f §1 in this source contradicts the # to the f 1 in bar 123); here as in PR-2 and by analogy with bar 102
124
T2
FS-2, PR-2:
124
Timb.
FS-2: square brackets enclose the iq figure; here omitted, as in PR-2
125
T1
FS-2, PR-2; over notes 5–6, 7–8; here omitted, as in VS, PR-1. FS-2: notes 3 9, 10 are a q e unit; here jq, as in VS, PR-1. p is editorial.
125
T1, T2
FS-2, PR-2:
126
T1, T2
FS-2, PR-2
127
C.cl.
PR-2: no petites baguettes; here as in FS-2. FS-2: mf, not f; here as in PR-2.
127, 336
C.cl.
VS: this part is assigned to T.d.b.; here as in FS-2, PR-2
over notes 4–6; here over notes 2–5, as in VS, PR-1
over notes 2–7; here over notes 3–8, as in VS to notes 2–4; here over notes 2–6, as in VS
128
VS, PR-1, FS-2: no double bar line at end of bar; here as in PR-2
129
FS-2: q = 126; here as in VS, PR-1, PR-2
129
T1
f is editorial
Critical Commentary
130
Alt., Vc., Cb.
simile is editorial
130, 132
Timb.
FS-2: no note 1; here as in PR-2
132
Cymb.
FS-2: note 1 is x, not e; here as in PR-2
133
xiii
6/8 in VS, PR-1, FS-2; cautionary (6/8) 3/4 at the end of bar 132 but 3/4 at the beginning of bar 133 (which is on a new system) in PR-2; here 6/8 = 3/4
135
Fl.
FS-2, PR-2: note 5 is g2; here f 2 by analogy with T1
136
Tr.
FS-2, PR-2: the e b1 is placed on the first beat of bar 137; here by analogy with bars 133, 134, 138; also as corrected by IS in PR-2b
136–38
VS, PR-1, FS-2: time signatures are 3/8 | 5/8 | 2+3 / 8 | 3+2 / 8 (with broken bar lines indicating some metrical subdivisions in irregular bars); here as in PR-2
138
Tr.
FS-2, PR-2: no note 2; here by analogy with bar 136 and as annotated by IS in PR-2b
139
T1
VS, Prf-2, PR-1: no f to note 1; no >s; here as in FS-2, PR-2; più is editorial
139 ff
Vc.
FS-2, PR-2: no •s; here by analogy with bar 348 ff in PR-2
141, 142
T1
VS, PR-1: no >s; here as in FS-2, PR-2
143
T1
VS: no >s to notes 1, 2, 4, 5; here as in FS-2 (PR-2 has > to note 3; here omitted, by analogy with bars 139, 141)
143–44
VS, FS-2, PR-2: w. = h. over bar line. The w. in this metric modulation is misleading, as IS is surely referring to a whole 9/8 bar here; here as in PR-1, which has q. q. q. = h.
144
FS-2, PR-2: (6/8) 2/4; here 6/8 (2/4), as in VS, PR-1
149
Cor 2
PR-2: note 2 is e b2; here as in FS-2
151
B1
f is editorial
154
Vc.
FS-2: wedges to all notes; here as in PR-2 and by analogy with preceding bars
155
B2
f is editorial
157
T1
f is editorial
157
Timb.
FS-2: > to note 4; here as in PR-2
159
Hb.
FS-2: f, not ff; here as in PR-2
159
T.d.b.
à grelots is editorial
159–64
Vn 1,Vn 2, Alt. FS-2: this passage is played only by Alt. (not the combination of Vn 1, Vn 2 and Alt.); here as in PR-2
166, 168
B1
VS: no dynamics; here as in FS-2
170
B2
mf is editorial
170
Cymb.
dynamics by analogy with bars 166, 168
172
Vn 1
arco is editorial
172
Vn 2, Alt.
FS-2, PR-2: con sord. (which is not subsequently cancelled); here as in PR-2b, where con sord. is deleted by IS
172–74
Cymb.
FS-2: no d3s; here as in PR-2
176
B1
VS: no dynamics; here as in FS-2, PR-2
176
Cymb.
FS-2: ff at beginning of bar; here as in PR-2
178
Hb.
FS-2: • to note 3; here as in PR-2
xiv
Critical Commentary
mf is editorial
181
T2
181–82
Cor 1, Cor 2, Tr. FS-2:
184
Hb.
> to note 1 by analogy with bar 178
186, 190
B1, B2
parentheses enclosing f are editorial
188–90
Cl. picc.
FS-2: scored for clarinet in Bb; here as in PR-2
190
B1
VS: no • to note 2; here as in FS-2
190
B1, B2
VS: no f; here as in FS-2 (see also remark on bars 186, 190)
192
B1
•s by analogy with bar 190
197
B1
VS: no ff; here as in FS-2
197
Cymb.
FS-2: sub. senza pedale; here as in PR-2
204
T2
f is editorial
204
Vn 1
FS-2: wedge, not >, to note 1; here as in PR-2
208
B1
f is editorial
215–16
B1
FS-2: no
215–16
B1, B2
VS: no descending glissando line over bar line; here as in FS-2
216
B1, B2
VS: final note is C; this note is unpitched in PR-1, PR-1a, PR-1b; here C#, as in FS-2
217
B2
PR-2: notes 2, 3 are d#, not unpitched (with a footnote ‘En cas d’absence du RE grave’); here as in VS, PR-1, PR-1a, PR-1b, FS-2
219
T1
f is editorial
223
Tr.
•s by analogy with bar 219
224
T1
VS: no f; here as in FS-2
224–25
T1
VS: no descending glissando line over bar line; no in FS-2
226
T1
PR-2: > to note 1; here as in VS, PR-1, PR-1a, PR-1b, FS-2
230
T1
VS: note 2 is e, not x; here as in FS-2, where this is consistently given as x in corresponding bars; molto by analogy with bars 235, 239
230, 236, 239, 240, 243, 244, 246, 247
over bar line; here as in PR-2 and by analogy with bars 183–84
over bar line; here by analogy with B2
over bar line; here as
VS: no >s in the vocal parts; PR-1 gives it only in bar 236; here as in FS-2
230
B1
VS, FS-2: B1 sings ‘a’, not ‘o’, but a footnote gives instructions for the vowel to be pronounced with a light aspiration and deviated in the direction of an ‘o’ sound; here as in Prf-2, PR-1, PR-2, which omit the footnote and simply give ‘o’, not ‘a’, in the underlay
235, 244
B1
VS: no molto; here as in FS-2
236
B1
FS-2: e, not x; here by analogy with corresponding bars
237
Tr.
FS-2: no note 2; here as in PR-2
249
B1, B2
VS, FS-2: no sf; here as in PR-2
249
Vn 1
FS-2: > to dyad 5; here as in PR-2
249–52
B1, B2
VS, FS-2: no >s; here as in PR-2
250
Vn 1
FS-2: >s to dyads 3, 7, 11; here as in PR-2
251
Vn 1
FS-2: >s to dyads 3, 7; here as in PR-2
Critical Commentary
252
Vn 1
FS-2: > to dyad 5; here as in PR-2
256
B2
f is editorial
256
Cymb.
FS-2: no f; here as annotated in Prf-3 and in PR-2
256
Vn 1, Vn 2, Alt. sf by analogy with bar 172
256–57
Picc.
PR-2: no slurs; here by analogy with bars 172–74
256–57
Picc., Cymb.
FS-2: no Picc. part; no upper Cymb. part; here as in PR-2
258
Cymb.
FS-2: Ped. to notes 1–3; sf to note 1; here as in PR-2
259
xv
PR-2: no double bar line at end of bar; here as in VS, FS, PR-1. VS, PR-1: no fermata at end of bar; here as in PR-2 (PR-2a has an extra fermata inscribed in lead pencil above the system and also ‘STOP’ and another fermata inscribed in red ink); FS-2 has ‘court’ inscribed before the fermata.
259
Cymb.
FS-2: no pedal after dyad 1; here as in PR-2
263–68
Vc. 2
FS-2: glissando line between notes 1 and 2. These performance indications would apply to bars 264–67 owing to sempre simile in bar 264; glissando line given again in bar 268. Here omitted, as in PR-2 (see also remark on bars 67–72).
263–69
Cb.
FS-2: pizz; here omitted, as in PR-2 (see also remark on bars 67–72)
264
T1
p is editorial
267
Cor ang.
FS-2, PR-2: bar’s rest; here by analogy with bar 71 and as annotated by IS in PR-2c
269
Tr.
FS-2, PR-2: bar’s rest; here by analogy with bar 72
270
PR-1, FS-2, PR-2: no double bar line at end of bar; here as in VS, and by analogy with bar 76 FS-2, PR-2: no f; here by analogy with bar 75
270
Cor ang.
270
Bn, Cor 1, Cor 2 FS-2: tenuto line; here omitted, as in PR-2
271
Tr.
FS-2: mp; here mf by analogy with bar 304
271, 272
Cl.
>s by analogy with bars 304, 305
279
T1
p is editorial
279
Fl.
PR-2: the notes on the third quaver of the bar are given as a quintuplet; here rhythm as in VS, FS-2
286
Bn
FS-2: tenuto line, not >, to note 4; here as in PR-2
288
B1
f is editorial
288, 293, 298, 300 B1
VS: no fausset; here as in Prf-2, PR-1, FS-2, PR-2
289–90
VS, PR-1, FS-2: 5/8; here 3/8 followed by 2/8, as in PR-2
292
4/16 in VS, PR-1, FS-2; (4/16) 2/8 in PR-2; here 4/16 = 2/8
293
VS, PR-1: (2/8)
293
Fl.
FS-2: grace note (b2) to note 1; in the parallel bars 298, 326, 331 the grace note is d3; here omitted, as in PR-2
293
T.d.b.
FS-2: no coup de genou; here as in PR-2
297
4/16 in VS, PR-1, FS-2; cautionary (4/16) at the end of bar 296, but 2/8 at the beginning of bar 297 (which is on a new page) in PR-2; here 2/8 = 4/16
298
VS, PR-1: (2/8)
298
Fl.
see remark on bar 293
xvi
302
Critical Commentary
B1
304
VS: the footnote has pp to note 2; here as in PR-1, FS-2, PR-2 VS, PR-1: 3/4 erroneously omitted
304
T2
p by analogy with bar 271
304, 305
Cymb.
dynamics by analogy with bars 271, 272
306
Cl.
p by analogy with bar 273
311
T1
p is editorial
315
Alt.
316
Bn
PR-2: mf ; here poco sf as in FS-2 and by analogy with bar 285
318
Tr.
# to note 2 is editorial
318
Alt.
f by analogy with bar 288
319
B1
f is editorial
319, 320, 324, 327, 328, 332, 333, 334
Vn 1, Vn 2
>s by analogy with bars 288, 289
321
and harmonic to note 3 by analogy with bar 284
VS: 2/8 erroneously omitted
321
Cb.
FS-2: jété at beginning of bar; here as in PR-2
322
Vc.
ff by analogy with bar 292
323
B2
f is editorial
323
Vn 1, Vn 2
sf by analogy with bar 293
324
Cor 1
tie is editorial
324–25, 329–30
Cb.
325, 326, 328, 331
and ff by analogy with bars 296–97 FS-2: double bar line at end of bar; here as in VS, PR-1, PR-2. From here until the end of the score, FS-2 routinely gives double bar lines prior to each change of time signature (not replicated in the new edition), suggesting a different copyist at work
326
Fl.
see remark on bar 293
327, 328, 332, 333, 334
Hb.
FS-2, PR-2: note 2 is g2; here f #2 by analogy with bars 319, 320, 324, and as corrected by IS in PR-2b
330
Fl.
see remark on bar 293
330
Cor 2
FS-2, PR-2: bar’s rest; here by analogy with bars 322, 325
335
VS: this 3/4 bar is given as two 2/8 bars followed by a bar of a crotchet’s rest (with no time signature in this one-crotchet bar); PR-1 has three bars of 2/8 (1/4) ; FS-2 has three bars of 2/8 ; here as in PR-2
335
VS, PR-1, FS-2: no fermata; here as in PR-2
335
VS: no double bar line at end of bar; here as in Prf-2, PR-1, FS-2, PR-2
336
C.cl.
f and fermata by analogy with bar 127. PR-2: no petites baguettes; here as in FS-2
337
Cym., G.c.
FS-2: ff; here sff by analogy with bar 128 (no dynamic indication in PR-2)
338
T1
f is editorial
339, 341
Timb.
FS-2, PR-2: no note 1; here by analogy with bars 130, 132
342 342, 343
6/8 in VS, PR-1; 6/8 in FS-2; cautionary (6/8) 3/4 at the end of bar 341, but 3/4 at the beginning of bar 342 (which is on a new page) in PR-2; here 6/8 = 3/4 Tr.
FS-2, PR-2: >s; here wedges by analogy with bars 133, 134
Critical Commentary
345
Tr.
345–47
xvii
FS-2, PR-2: the e b1 is placed (with >) on the first beat of bar 346; here by analogy with bar 136 (see remark on bar 136); also corrected by IS in PR-2b, PR-2c VS, PR-1, FS-2: time signatures are 3/8 | 5/8 | 3+2 / 8 | 2+3 / 8 | 3+2 / 8 (with broken bar lines indicating some metrical subdivisions in irregular bars); here as in PR-2 (see remark on bars 136–38)
347
Tr.
wedge to note 1 by analogy with bars 136, 138. FS-2, PR-2: no note 2; here by analogy with bar 138 (see remark on bar 138).
348
T1
VS, PR-1, FS-2: no f to note 1; no >s; here as in PR-2; più is editorial
348
Fl., Hb., Cl., Bn, Cor 1, Cor 2, Tr.
dynamics by analogy with bar 139
348–52
Bn
FS-2, PR-2: erroneous bass clef; here tenor clef by analogy with bars 139–43; also corrected by IS in PR-2a
348–52
C.cl.
FS-2, PR-2: no C.cl. part in these bars; here by analogy with bars 139–43
348, 349, 350, 351, 352
Vn 1, Vn 2, Alt. > to note 3 by analogy with bars 139, 140, 141, 142, 143
348, 349, 350, 351, 352
Vc.
> to note 4 by analogy with bars 139, 140, 141, 142, 143
349
T1
> to note 1 by analogy with bar 140
350, 351
T1
>s by analogy with bars 141, 142
350, 351
Timb.
>s by analogy with preceding two bars and bars 141, 142
351
T1
VS: rhythm is
352
T1
VS, PR-1, FS-2, PR-2: no >s to notes 1, 2, 4; here by analogy with bar 143. VS, PR-1, FS-2: no > to note 5; here as in PR-2.
352
T2
f by analogy with bar 143. VS, PR-1, FS-2: no >; here as in PR-2.
352
Cymb.
FS-2, PR-2: lower note of dyad 2 on upper stave is erroneous c2; note 2 on lower stave is erroneous c; here as in bar 143
q eeeee
; here as in Prf-2, PR-1, PR-2
352–53
see remark on bars 143–44
353
6/8 in PR-1; (6/8) 2/4 in FS-2, PR-2; here 6/8 (2/4), as in VS
353
Cor 2
FS-2, PR-2: no # to note 4; here by analogy with bar 144
353, 354
T1, T2
VS, PR-1, FS-2: no >s; here as in PR-2
354
Cymb.
f by analogy with bar 145 FS-2, PR-2: x = x over bar line; here omitted, as in VS, PR-1
354–55 355
Bn, Cymb.
FS-2: the tuplet groups on beats 3 and 5 replicate the pitches of the tuplet group on beat 1; here as in PR-2 and as in bar 146
355
Cymb.
357
T1
mf is editorial
359–60
Cymb.
FS-2: two bars’ rest; here as in PR-2
360
T1
VS, PR-1: no tenuto lines; here as in FS-2, PR-2
361
Bn
FS-2, PR-2: no b to note 8; here by analogy with bars 363, 365, 366, 367
362–63
Cor ang.
FS-2: two bars’ rest: here as in PR-2
by analogy with bar 146
xviii
Critical Commentary
369
Vc.
FS-2, PR-2: no p; here by analogy with Vn 1, Vn 2, Alt., and with bar 371
371
Bn
FS-2: slur from note 1 to note 5; here from note 2 to note 3, as in PR-2
371
Vn 2
FS-2, PR-2: no p; here by analogy with bar 369
382, 383, 384
Bn
FS-2: slurs conjoin upper to lower notes, not lower to upper notes; here as in PR-2
385
VS: (2/4) 4/8 in B1 and 2/4 in piano; here as in FS-2, PR-2
385
B1
VS: no p; here as in Prf-2, PR-1, FS-2, PR-2
385
Cymb., Vn 1, Vn 2, Alt.
p is editorial
386, 387, 388
B1
VS, PR-1, FS-2: no >s; here as in PR-2
390, 392, 393, 394 Cymb.
dynamics are editorial
392
4/8 in VS, PR-1; 2/4 in FS-2, PR-2; here 4/8 = 2/4
392, 396
Vn 1, Vn 2, Alt. p is editorial
393
B1
VS: più f (not f); no
393
B2
VS: no dynamics or •s; here as in FS-2, PR-2
394
B1, B2
VS: no p; here as in Prf-2, PR-1, FS-2, PR-2
394
B2
VS: note 4 is B, not c #, with a tenuto line to notes 3 and 4 to indicate that the slur is not a tie; here as in Prf-2, PR-1, FS-2, PR-2
395
; no •s; here as in FS-2, PR-2
VS: two 3/8 bars; here 6/8, as in Prf-2, PR-1, FS-2, PR-2
397, 398, 399
B1
VS, PR-1, FS-2: no >s; here as in PR-2
399
Vn 1
FS-2: no slur between notes 2 and 3; here as in PR-2
400, 416, 420, 428, 432
B1
VS: no •s; here as corrected by IS in Prf-2, and in PR-1, FS-2, PR-2
402
B2
VS: meno f marked above beginning of bar; here as in PR-1, FS-2, PR-2
405
B2
>s by analogy with bars 401, 403
407
B1
VS: no p; here as in Prf-2, PR-1
410
B1
VS: x s are es; here as in PR-1, VS-2, PR-2; •s by analogy with bar 385 ff
416
VS, PR-1: (2/4) 4/8 in B1 and 2/4 in piano; here as in FS-2, PR-2
416
B1
p by analogy with bar 385
417
Vc.
FS-2: no arco; here as in PR-2
417, 418, 419, 429, 430, 431
B1
VS, PR-1, FS-2: no >s; here as in PR-2
421
B2
VS: no > to note 1; here as in Prf-2, PR-1, FS-2, PR-2. f is editorial.
423
B1
f is editorial
423
B1, B2
colla parte is editorial
425
a tempo in instrumental and vocal parts from VS, Prf-2, PR-1
425
VS, PR-1, FS-2: no dotted bar lines indicating metrical subdivisions; here as in PR-2
427
prevailing 6/8 in VS, PR-1; (6/8) 3/4 in FS-2, PR-2; here 3/4 (6/8)
428
(2/4) 4/8 in VS; (4/8) 2/4 in FS-2, PR-2; here 2/4 (4/8) by analogy with bar 385
428
B1
p by analogy with bar 385
Critical Commentary
433
B1, B2
435
xix
VS, PR-1: no •s; here as in FS-2, PR-2. VS: no dynamics; here as in Prf-2, PR-1. (2/4) 4/8 in vocal parts and 2/4 in piano part in VS; 4/8 in PR-1; here as in FS-2, PR-2
436
B1, B2
VS, PR-1: no •s; here as in FS-2, PR-2
436, 437, 438
Vc.
wedges by analogy with bar 433 (and 390 ff)
437
B1, B2
VS: p is followed by continuation dashes - - - - - - - from beginning of bar to bar 438 note 2; Prf-2, PR-1: dashes stop after note 4 of bar 437; no dynamic markings in FS-2, PR-2; here p with dashes omitted
439
B1, B2
VS, FS-2, PR-2: no ff; here as in PR-1
439
Vc.
FS-2: bar’s rest; here as in PR-2
440
Vn 1, Vn 2, Alt. FS-2: Vn 1 has four c #1 quavers, marked pizz. and f; Vn 2 has two c #1 crotchets, marked f; Alt. has two f# crotchets, marked f; here as in PR-2 and by analogy with bar 442
440–43
B1, B2
441
Vn 1, Vn 2, Alt. FS-2: bar’s rest; here Vn 1 by analogy with bar 443; Vn 2 and Alt. as in PR-2
441, 443
B1
443
Vn 1, Vn 2, Alt. FS-2: bar’s rest; here as in PR-2
445
B1, B2
445
Vn 1, Vn 2, Alt. FS-2: bar’s rest; here by analogy with bar 443
449
T1
VS, Prf-2, PR-1: no p; here as in FS-2, PR-2
456
B1, B2
VS: no f; here as in Prf-2, PR-1, FS-2, PR-2
459
Bn
FS-2: note 1 is erroneous e b; here as in PR-2
465
Cl.
FS-2: bar’s rest; here as in PR-2
465–66
Hb., Bn
FS-2: two bars’ rest; here as in PR-2
465–66
Cor 1, Cor 2, Tr. FS-2: no >s; slur between bar 465 note 1 and 466 note 1; here as in PR-2
465
B1
VS, PR-1, FS-2: no
465
B2
VS, PR-1: no
466
Cymb.
FS-2: no note 2
466
Timb.
FS-2: this part is played by G.c. ‘(bag. de Timb.)’, not Timb.; here as in PR-2
466
Vc.
FS-2: bar’s rest; here as in PR-2
466–572
Fl.
FS-2: this part is marked ‘Fl. picc.’; here as in PR-2
473
B1, B2
(f) is editorial
475–76
C.cl.
this part is marked ‘tamb. militaire’ in FS-2 and ‘C.c.P.’ (possibly denoting ‘Caisse claire petite’) in PR-2
477
B1
VS:
478
Timb.
FS-2: this part (with the omission of note 2) is played by G.c., not Timb.; here as in PR-2
478
Alt., Vc.
FS-2: bar’s rest; here as in PR-2
VS, FS-2, PR-2: no dynamics; here as in PR-1, where the alternation of p and ff is denoted by simile in bar 441
FS-2, PR-2: note 2 is d; here d 1 as in VS, PR-1
FS-2, PR-2: subito p at note 2 (VS, Prf-2, PR-1 have no dynamic indication); here editorial più p
; here as in PR-2 ; here as in FS-2, PR-2
between notes 1 and 2; > to note 2; here as in PR-1, FS-2, PR-2
xx
Critical Commentary
479
Alt.
FS-2: # to note 1; here b, as corrected in Prf-3 and in PR-2
487–88
C.cl.
FS-2: this part is marked ‘Tamb. militaire’; here as in PR-2
489
B2
VS: no ascending portamento line between notes 1 and 2; here as in Prf-2, PR-1, FS-2, PR-2
489–90
B1, B2
VS, FS-2, PR-2: no descending portamento line across bar line; here as in Prf-2, PR-1
490
B1, B2
VS: q, not q _ x (e in Prf-2, PR-1); here as in FS-2, PR-2
490
Alt., Vc.
FS-2: bar’s rest; here as in PR-2
491
Cb.
FS-2, PR-2: no pizz.; inserted here owing to the indication of arco in bar 499 of these sources
494
T2, B2
VS, FS-2, PR-2: no f; here as in PR-1
500
V2
FS-2: no d 1 to dyad; here as in PR-2
501
V2
FS-2: no e 2s; here as in PR-2
501
Alt.
FS-2: no e 1; here as inserted in Prf-3 and in PR-2
511
VS: no double bar line at end of bar, owing to the diagrammatic way in which this music is laid out; here double bar line, as in FS-2, PR-2
512
B1
VS: no > to note 1; here as in PR-1, FS-2, PR-2; no mf ; here as in PR-1, FS-2
515
T2
mf is editorial
516
T1
mf is editorial
518
Cymb.
FS-2: erroneous treble clefs on both staves; here as in PR-2
521
6/16 in VS, PR-1, FS-2; cautionary 6/16 = 3/8 at the end of bar 520, but 3/8 at the beginning of bar 521 (which is on a new page) in PR-2; here 6/16 = 3/8
521
Hb.
f is editorial
521
Vn 2, Alt.
FS-2, PR-2: no dynamics; here by analogy with bar 520
522
Cymb.
FS-2: note 1 is a; here G, as in PR-2; in PR-1 the piano chord also includes a G, a pitch class that would not otherwise be represented in the full score if the reading of FS-2 were adopted
523
8/16 in VS, PR-1, FS-2; cautionary 8/16 = 4/8 at the end of bar 522, but 4/8 at the beginning of bar 523 (which is on a new page) in PR-2; here 8/16 = 4/8
529
Cb.
FS-2, PR-2: no note 2; here as annotated (with ‘pizz.’) by IS in PR-2b
530
Cb.
FS-2, PR-2: no arco; here as annotated by IS in PR-2b
531
Cb.
note 2 by analogy with bar 529 (see remark on bar 529)
532
Cym.
FS-2: mode ordinaire; here as in PR-2
532, 534
Vn 2, Alt.
FS-2, PR-2: no wedges to dyads; here by analogy with bar 560 ff
535
Fl.
FS-2, PR-2: no # to note 6; here as annotated in PR-2a
539
Vn 1
FS-2: f 1 in addition to a on note 1; here as in PR-2
542
B1
FS-2, PR-2: tenuto lines to notes 1, 2; here as in VS, PR-1, and by analogy with bars 562, 564 in FS-2, PR-2
544
B1
FS-2, PR-2: tenuto lines to notes 5, 6; here as in VS, PR-1, and by analogy with bars 562, 564 in FS-2, PR-2
544
Vn 1
FS-2, PR-2: no wedge, no sf ; here by analogy with bar 541
Critical Commentary
549, 551, 553
(6/16) 3/8 in VS; 6/16 (3/8) in PR-1; 6/16 in FS-2; cautionary 6/16 = 3/8 at the end of bars 548, 550, 552, but 3/8 at the beginning of bars 549, 551, 553 (which are on a new page) in PR-2; here 6/16 = 3/8
554
B1
f by analogy with bar 541
561
T1, T2
VS, PR-1: no f ; here as in FS-2, PR-2
563
Alt.
FS-2, PR-2: no wedge; here by analogy with bar 566
566
B2
VS, PR-1: no f ; here as in FS-2, PR-2
568
Vn 1, Vn 2
FS-2, PR-2: no f ; here by analogy with preceding bars
568
Vn 1, Vn 2, Alt., Vc., Cb.
FS-2, PR-2: no sf f ; here by analogy with preceding bars
568
Vn 2, Alt.
FS-2, PR-2: no wedge to dyad; here by analogy with preceding bars
572 572
xxi
VS: bar line after second unpitched note in vocal parts; here as in Prf-2, PR-1, FS-2, PR-2 B1, B2
VS: no portamento line between notes 2 and 3; here as in PR-1, FS-2, PR-2
Stravinsky’s sketch of a seating plan for the performers of Renard, with the annotation ‘Sitting [sic] in my Los Ang Chamber music concert, Nov 20/55 I Str’, in PR-2c (see ‘Select Sources’ above). [Igor Stravinsky Collection, Paul Sacher Foundation, Basel.]
xxiii
ACKNOWLEDGMENTS
Music for arranging for the Cyrillic underlay to be checked and transliterated. I offer sincere thanks to Professor Maureen Carr for her encouragement whilst we were both researching (independently of each other) at the Paul Sacher Stiftung in the Autumn of 2013; her zest for musicological detective work, buoyant good humour and boundless enthusiasm were inspiring indeed. To her I am also indebted for some helpful comments on the prefatory material – laid out so elegantly for this edition by Susan Clarke. The final proof of the score benefited from the scrutiny of Chester Music’s Daniel Rollison, who identified some areas requiring improvement and clarification. Finally, Stephen Gibson, who typeset this score, deserves special mention. Not once did he rebuke me for the many amendments I sent his way during this complex project. For this I am enduringly grateful. Ernest Barker cites Aristotle in the Preface to his The Character of England: ‘Feasts to which many contribute may excel those provided at one man’s expense.’ I am convinced that Aristotle’s maxim pertains to this edition. Equally, I beg to make it clear that any infelicity is my responsibility alone. Millan Sachania Chertsey, England, 2014
This edition has been a long time in the making, and I owe an immeasurable debt to Howard Friend, Managing Editor of Chester Music, for his patience, support and many kindnesses throughout the project. It is a pleasure to record my thanks to Dr Ulrich Mosch, curator of the Stravinsky Archive at the Paul Sacher Foundation, Basel, when the project commenced, for facilitating access to a wealth of source materials; and to the other staff there for attending to my requests during later visits, including Dr Heidy Zimmermann, Carlos Chanfón, and Johanna Blask. I am particularly grateful to the Foundation for granting us permission to reproduce Stravinsky’s sketch of a seating plan for Renard (on p. xxiii). To Susan Clermont, of the Music Division of the Library of Congress, I extend my thanks for providing Howard Friend access to a proof of the full score in the Robert Craft Collection, which he meticulously scrutinised on my behalf; also to the Morgan Library & Museum, which furnished a photographic reproduction of the condensed manuscript score from the Robert Owen Lehman Collection for study purposes. This edition would have been much the poorer without David Lloyd-Jones’s illuminating insights during its preparation and Dr Agnès Ausseur’s painstaking work on the French text. As a nonRussian speaker, I am grateful, too, to the staff of Chester
xxv
Renard prelims_06
14/7/14
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Page xxvi
L’ENSEMBLE INSTRUMENTAL
Flûte / Piccolo Hautbois / Cor anglais Clarinette (en mi bémol / en si bémol / en la) Basson 2 Cors (en fa) Trompette (en la / en si bémol) Cymbalum Timbales Cymbales Grosse caisse Tambour de basque (à grelots) Tambour de basque (sans grelots) Caisse claire Triangle Violon 1 (solo) Violon 2 (solo) Alto (solo) Violoncelle (solo) Contrebasse (solo)
Duration: c. 17 minutes
xxvi
Très respectueusement dédié à Madame la Princesse Edmond de Polignac
<FQRF
RENARD
Dtctkjt ghtlcnfdktybt c gtybtv b vepsrjq
Histoire burlesque chantée et jouée Igor Stravinsky
MARCHE aux sons de laquelle les acteurs entrent en scène
ITCNDBT gjl pderb rjnjhjuj frnths d[jlzn yf cwtye
I
= 152 Piccolo
Hautbois
Clarinette en mi
Basson
3
sempre
e marcatissimo
I Cors en fa II
Trompette en la
3
3
Cymbalum
Triangle Tambour de basque (à grelots)
Cymbales
Grosse caisse
© 1917 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 © 2014 Chester Music Limited.
2
II
8
Picc.
Hb.
Cl. (mi )
Bn 3
I Cor. (fa) II 3
3
Tr. (la)
Cymb.
Triang. T.d.b. (à grelots)
Cym. G.c.
15
Picc.
Hb.
Cl. (mi )
Bn
I Cor. (fa) II
Tr. (la)
Cymb.
Triang. T.d.b. (à grelots) étouffez
Cym. G.c. FINE
3
III
IV
21
Picc. marcatissimo
Hb.
Cl. (mi ) 5
marcatissimo
Bn
I Cor. (fa) II
Tr. (la)
Cymb.
Triang. T.d.b. (à grelots) avec le pouce
coup de genoux
sempre simile
Cym. G.c.
V 29
Picc.
Hb.
Cl. (mi ) 5
5
Bn come sopra
I Cor. (fa) II
Tr. (la)
Cymb.
étouffez subito
Triang. T.d.b. (à grelots)
Cym. G.c. Dal
al fine
4
Allegro ( = 126)
1
Flûte
Cor anglais
Clarinette en mi
Basson
I Cors en fa II Tr. (la) = Tr. (si )
Trompette en si baguettes en cuir préparez vite les baguettes en bois
Cymbalum
*
Timbales
Cymbales Grosse caisse Tambour de basque (à grelots) Tambour de basque (sans grelots) Caisse claire Triangle !Gtne[ cetncz yf cdjtq dsirt@ (Le coq s’agite sur son perchoir)
I 8
Ténors
Re
lf>
re
lf>
re
lf>
re
lf>
re
lf?
Ku
da,
ku
da,
ku da,
ku
da,
ku
da?
Où
ça,
où
ça,
où
où
ça,
où
ça?
ça,
II 8
I Gj lfq nt vyt
Basses II
Allegro ( = 126) Violon I (solo) Violon II (solo)
Alto (solo) sempre
e stacc.
simile
Violoncelle (solo) simile
Contrebasse (solo) simile
* Les notes marquées du signe „o“ se jouent derrière le chevalet de l’instrument.
t
uj
c/
Pa dai tye mnye ye
vo
syu
Où
nez
le
est
il?
A
me
5
2 1
7
Fl. 6
Cor ang.
Cl. (mi ) 3
3
3
3
Bn
I Cor. (fa) II
5
Tr. (si )
baguettes en bois
Cymb.
Timb.
T. I 8
Z
yj
Ya
na ga mi stap chu,
Et
T. II 8
B. I lf!
da! moi!
B. II
1 Vln I
Vln II
Alt.
Vc.
Cb.
2
on
lui
uf vb cnjg xe> cas sâ&#x20AC;&#x2122;ra les
os,
6
3
15
Fl. 5
Cor ang.
Cl. (mi ) 3
Bn
Solo
I Cor. (fa) II
5
Tr. (si )
baguettes en cuir
sub.
5
Cymb.
Timb.
T. I 8
T. II 8
Nj
gj
hjv
Ta
pa
rom srub lyu.
che, k/.
On
lui
plan t’ra l’cou teau.
B. I
B. II Z (f)
Vln I
(arco)
Vln II
Alt.
Vc.
Cb.
uf vb cnjg
xe>
ga mi (s)top chu,
Et
cas s’ra
3
pizz.
yj
Ya (a) na on vous lui
les
os,
7
4
23
Cor ang.
I Cor. (fa) II
Cymb.
T. I 8
lf>
re
lf>
re
lf?
Ku da, ku
Re
lf>
da, ku da,
ku
da,
ku
da?
Où
ça,
où
ça,
où
ça?
ça,
re où
lf>
re où
ça,
B. I Gj lfq
t
uj
c/
Pa dai tye mnye
ye
vo
syu
Où
me
nez
le
Gj lfq
nt
est
nt vyt il?
A
B. II (j)
B
nj
gj
hjv
che, k/.
i
to (o) pa
rom
srub lyu.
on vous lui plan
t’ra
le
Pa dai tye
cou teau.
Et
4
puis plus (pizz.)
Vln I pizz.
Vln II
Alt.
Vc.
Cb.
30
Cor. II (fa)
Cymb.
baguettes en bois
!Afkmwtn@ (fausset)
B. I lf!
Re
lf>
re
lf>
re
lf>
re
lf>
re
lf>
re
lf?
da!
Ku
da,
ku
da,
ku
da,
ku
da,
ku
da,
ku
da?
moi!
Où
ça,
où
ça,
où
ça,
où
ça,
où
ça,
où
ça?
B. II t
uj
crj
htq
c/
lf!
Re
mnye ye
vo
ska
rei
syu
da!
Ku
ça!
Voi
là...
voi
là!
Où
vyt vit’
Alt.
Vc.
Cb.
que
8
5
36
Fl.
3 6
Cor ang.
Cl. (mi ) 3
3
Bn
I Cor. (fa) II
5
Tr. (si )
Cymb.
T. I 8
B
yj
I
na zhish ka
le
p’tit
cou
teau,
;b
irj
;b
irj
plt
cz>
zdye
sa,
on
l’a,
plt
cz>
T. II 8
B
yj
;b
I
na
zhish
p’tit
cou
teau,
irj
Et
le
irj
ka
plt
cz>
B
yj
zdye
sa,
I
na zhish ka
on
l’a
le
p’tit
cou
teau,
;b
irj
zdye
sa,
on
l’a,
plt
cz>
B. I B
yj
;b
I
na
zhish
p’tit
cou
Et
le
ka teau,
plt
cz>
B
yj
zdye
sa,
I
na zhish ka
on
l’a
le
p’tit
cou
teau,
;b
irj
zdye
sa,
on
l’a,
plt
cz>
B. II lf?
B
yj
da?
I
na zhish ka
ça?
le
p’tit
cou
teau,
zdye
sa,
on
l’a,
5 arco stacc.
Vln I 6
sub. arco stacc.
Vln II sub.
Alt.
Vc.
Cb.
6
9
6 42
Fl. 3
6
Cor ang.
Cl. (mi ) 5 3
3
Bn
I Cor. (fa) II
5
5
Tr. (si )
Cymb.
5
6
T. I 8
B
ue
;b
irj
plt
cz>
I
gu
zhish
ka
zdye
sa,
et
la
corde
aus
si,
on
l’a,
T. II 8
B
ue
;b
irj
plt
cz>
I
gu
zhish
ka
zdye
sa,
et
la
corde
aus
si,
on
l’a,
B. I B
ue
;b
irj
plt
cz>
I
gu
zhish
ka
zdye
sa,
et
la
corde
aus
si,
on
l’a,
B. II B
ue
;b
irj
plt
cz>
I
gu
zhish
ka
zdye
sa,
et
la
corde
aus
si,
on
l’a,
6 Vln I 7 7
Vln II
Alt.
Vc.
Cb.
10
7
47
Fl.
3 3 5
Cor ang.
Cl. (mi ) 5
Bn
6
6
3
5
I Cor. (fa) II
5
Tr. (si ) 5
Cymb. 5
Timb.
G.c.
T. I 8
B
pf
ht
I
za
rye zhem
;tv
et
i
ci
on
;tv
plt
cz>
B
gj
dt
cbv(
plt
zdye
sa,
I
pa
ve
sim
zdye
cz.
sa,
l’crè
v’ra,
et
i
ci
on
l’pen
dra.
cz.
T. II 8
B
pf
ht
I
za
rye zhem
et
i
ci
on
;tv
plt
cz>
B
gj
dt
cbv(
plt
zdye
sa,
I
pa
ve
sim
zdye
sa,
l’crè
v’ra,
et
i
ci
on
l’pen
dra.
cz.
B. I B
pf
ht
I
za
rye zhem
et
i
ci
on
;tv
plt
cz>
B
gj
dt
cbv(
plt
zdye
sa,
I
pa
ve
sim
zdye
sa,
l’crè
v’ra,
et
i
ci
on
l’pen
dra.
cz.
B. II
5
5
Vln I sul sol
Vln II
Alt.
Vc.
Cb.
5
7
B
pf
ht
I
za
rye zhem
et
i
ci
on
plt
cz>
B
gj
dt
cbv(
plt
zdye
sa,
I
pa
ve
sim
zdye
sa,
l’crè
v’ra,
et
i
ci
on
l’pen
dra.
11
8 52
Fl. = Fl.picc.
Fl.
Cor ang. Cl. Picc. (mi ) = Cl. (si )
Cl. (mi )
Bn
I Cor. (fa) II
Tr. (si )
Cymb.
baguettes en cuir
Timb.
G.c.
T. I 8
re
lf>
re
lf?
Ku da, ku
Re
lf>
da, ku da, ku
da,
ku
da?
Où
ça,
ça,
où
ça?
ça,
re où
lf>
re où
lf> ça,
où
T. II 8
B. I
B. II B
yj... b
yj
cz>
B
ue... b
ue
I
no... i
no zhish ka zdye sa,
I
gu... i
gu zhish ka zdye sa,
Et
le
la
p’tit’
p’tit cou
8 pizz.
Vln I pizz.
Vln II
Alt.
Vc.
Cb.
;b irj plt cou teau, on
l’a,
co
corde
;b irj plt aus
si
on
cz> l’a,
12
9 Meno mosso (
= 63)
59
Cor ang.
7
Bn. 7
Cor. I (fa)
3
Cymb.
9
Timb.
G.c.
B. II B
ht ;tv plt cz>
B gj... b
gj
dt cbv plt cz.
I za... i
pf... b
za rezh em zdye sa,
I pa... i
pa
ve sim zdye sa.
et
on
et
on
vous l’pen pen dra.
i
ci
pf
vous l’crè
crè v’ra
i
ci
9 Meno mosso (
= 63)
Vln I
Vln II pizz.
Alt. poco
Vc.
Cb.
10
65
Cor ang.
Bn
I Cor. (fa) II con sord.
Tr. (si )
T. I 8
Cb ;e
10 Alt. sul do (arco)
Vc. pizz. pizz.
sempre simile arco
Cb. , poco
(sempre)
yf
le
,e>
Cb
Si zhu na
du
bu,
Si
Je
mon bâ ton,
je
suis
sur
;e>
ljv cnt ht ue>
zhu, dom ste rye gu, garde
la
mai son,
13
71
=
Cor ang. = Hautbois
Cor ang.
Bn
I Cor. (fa) II
Tr. (si )
3
Cymb. 9
Timb. !Ghb[jlbn kbcf d jltzybb vjyf[byb@ (Arrive Renard en costume de religieuse)
T. I 8
Gtc
y/
Pes
nyu pa yu.
gj /.
j’chant’ ma chan son.
=
pizz.
Vc.
Cb.
11 77
=
3
Hb.
3
Cl. (si )
Bn 3
3
2
3
T. II 8
Plhfd cndeq>
rhf cyj
t
Zdrast
vui,
kras no
ye cha da,
Sa
lut,
mon
cher
fils
xf à
lj> la
gt
pye
ntk!
Cyb lb>
rhf cyj
t
xf lj> yf
ptv
k/>
Lf
gj
tyel!
Sni
di,
kras no
ye cha da, na
zem
lyu,
Da
pa
Des
cen
fils,
votr’
et
con
to que roug’!
dez,
cher
du
lieu
de
sé
jour,
11 =
sul do arco
Vln I (pizz.)
Alt. (pizz.)
Vc. sul re arco
Cb.
14
12 colla parte ()
83
Hb.
3
3
Cl. (si )
()
Bn
() 3
Cor. I (fa)
() () sim.
Cymb.
() senza Ped.
!Gtne[ d cthlwf[@ (Le coq, impatienté)
3
a tempo
3
()
T. I 8
Gj lb djy kb cf! rall.
accel.
a tempo
rall.
Pa di von li sa!
accel.
Zut! mèr’
3
3
3
3
Re nard!
3
()
T. II 8
rfq
cz!
Z
ikf bp lfkm
yb[
cnsym>
Yt
gb
kf>
yt
kai
sa!
Ya
shla iz dal
nikh pu
stïn,
Nye
pi
la,
nye ye
la...
des
serts,
n’ai
ni
bu,
ni
gé...
fes sez
vous.
J’viens
du
fond
ge dé
t
kf...
man
12 colla parte ()
Alt.
arco
()
Vc.
3
pizz.
()
Cb.
86
a tempo
Hb.
Cl. (si )
Bn 7
con sord.
Tr. (si ) non cuivré
!Kbcf ghjljk;ftn@ (Renard continuant)
3
3
3
3
T. II 8
Vyj
uj
Mno
ga
Ai,
ye ;ls
nuzh dï souf
fert
ght
nth gt! t@
kf;
Nt
,z>
vb
kj
t
xf
lj!
pre
ter
la;
Tye
bya,
mi
lo
ye
cha
do!
ci,
fils
très
cher,
a
beau coup
a tempo Vln I
(pizz.)
Vln II
arco
Alt.
d’mi
pe (e) sè
res;
j’suis
i
Cgj dt
Spa fin
vye d’vous
15
13 Più mosso (Tempo I)
= 126
90
Hb.
=
Bn
= sub.
9
= Cymb.
= !Gtne[ c pfljhjv@ (Le coq avec arrogance)
=
T. I 8
J>
vf
(f)
nb
vj
z>
kb
cb
wf!
Z
yt
gj
cnbk
O,
ma
(a)
ti
ma
ya,
li
si
tsa!
Ya
nye
pa
stil
O
ma
(a)
bonn’
viell’
mèr’
Re
nard,
ces
mo
o
o
3
=
T. II 8
lfnm
[j
dat(s)
kha tye (e) la. con
nt! t@
kf.
fes ser.*
13 Più mosso (Tempo I) =
Vln I
Vln II
=
Alt.
=
Vc.
=
= 126
sempre e molto stacc. arco
=
Cb.
sempre e molto stacc.
3
3
95
Fl.picc. = Fl.
=
Picc. 5
3
3
Hb.
=
Bn
=
= Cymb.
=
=
T. I 8
cz>
yt
kbk
cz;
Ghb
lb
d by
yj
t
dht
vz.
sa,
nye ma
lil
sa,
Pri
di
v in
no
ye
vre
mya.
là
crois
pas;
re
pass’
voir
une
aut’
fois.
m’ries
vj j’n’y
simile
=
Vc. simile
=
Cb.
* Prononcez: confessère.
16
14 Meno mosso
100
Cl. (si )
=
Bn
=
= 63 (colla
parte) 3
poco
poco
poco
poco
poco
poco
=
I Cor. (fa)
=
II
rall.
accel.
a tempo
rall.
accel.
3 3
3
=
T. II 8
J
vj
t
xf
lj> gt
ntk!
Cb
!b@ lbim ns
yf
db
O
ma
yo
cha
da, pye
tel!
Si
(i) dish tï
na
vi
vous
êt’s
très
haut
O
mon
14 Meno mosso
= 63 (colla
fils
très
cher,
as
sis
parte) pizz. 3
3
=
Alt.
gliss. pizz.
gliss.
3
pizz.
arco
pizz.
3
=
Vc.
(arco)
gliss.
103
15
a tempo
(
3
Cl. (si )
gliss.
saltando
=
)
()
()
Bn
(con sord.)
()
Tr. (si )
a tempo 2 3
()
T. II 8
cj
wtv
lht dt>
Lf
vs
so
tsem
dre vye,
Da
mï
slish mï sli nye
ça
n’em
dans
les
airs,
mais
ckbim vs ckb yt pêch’
lj
,hs
do
brï ye,
pas que
tu
z err’s,
prends
ghj
rkz
ns
z.
pra
klya
tï
ye.
gard’
mon
fils.
15
a tempo
(
=
)
sul sol
()
Vln I
arco
Alt.
2
2
2
()
pizz. arco
arco
2
()
Vc. (arco) saltando
2
17
colla parte
16
108
colla parte
=
Bn
=
= 3 3
=
=
I
=
3
Cor. (fa)
3
3
=
II
=
=
senza sord.
=
Tr. (si )
=
=
3
3
=
=
=
Cymb.
sempre simile
=
=
=
senza Ped.
rall.
a tempo
accel.
rall.
a tempo
accel.
3
=
T. II
3
3
=
=
8
Ds
lth
;b
nt ;ty gj vyj
Vï
dyer
zhi
tye zhon pa mno gu;
Vous
a vez, vous autr’s, beau
coup trop
ue;
Rnj lth
de femm’s;
cznm ;ty>
en
a bien un’
di zain’,
lth
nï
dyer zhit
;bn
et
tel
en
a
dans
= arco
=
=
=
pizz.
arco
=
Alt.
ysq
In
= pizz.
Vln II
By
colla parte
=
Vln I
tel
colla parte
16
;bn lt !t@
Kto dyer zhit dye (e) syat(s) zhon,
=
=
=
=
pizz.
=
Vc.
111
=
Bn
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
=
3
sempre simile 3
=
I
sempre simile
Cor. (fa)
3
=
II
sempre simile
=
Tr. (si )
3
sempre simile
Cymb.
3
3
=
T. II
3
=
=
=
8
wt ks[
ldf
tsel ïkh dvad la
Vln I
=
Vln II
=
ving
taine
wfnm ;ty>
Ghb
!b@
!b@
!b@
,s
df
tsat(s) zhon,
Pri
(i)
(i)
(i)
bï
va
au
moins,
ça
peut
= pizz.
=
yet
cj
(j) dht !t@
vt ytv
sa
(a) vre (e)
mye nyem
mon ter
a
vec
le temps
=
=
=
=
=
=
arco
= pizz.
Alt.
tn(
arco
=
18
17
114
Hb.
=
Bn
= 3
3
=
I Cor. (fa)
3
II
=
Tr. (si )
= 3
= Cymb.
= 2
3
=
T. II 8
lj
cj
hj rf!
Ult
cjq
l=
ntcm>
nen(
b
lt
do
so
ra ka!
Gdye
sai
dyo
tyes,
tut
i
dye
ryo tyes
jus
qu’a
qua rant’!
trez,
vous
vous
bat
tez,
Par
tout
où
vous
vous
ren
con
h=
ntcm rap
17
pizz.
=
Vln II
pizz.
=
Alt.
18 colla parte
119
()
Hb. cresc.
()
Bn
2
2
2
cresc. poco 2
()
I cresc.
Cor. (fa)
poco
2
2
()
II
poco
rall.
accel.
3
2
()
T. II 8
J
cdj
A
sva ikh zhe nakh,
port,
à
b[ vos
;t yf[> fem
mes,
rfr
j
yf
kj
(j)
(j)
;yb
wf[.
Cyb
lb> vb
kj
t
kak
a
na
lo
(o)
(o)
zhni
tsakh.
Sni
di, mi
la
ye
comm’ si
c’é
taient
vos
maî
tress’s;
viens
fils,
jus
mon
18 colla parte Vln I
pizz.
qu’à
3
() gliss. (pizz.)
Vln II
() (pizz.)
Alt.
3
gliss. 3
() gliss. sul do (pizz.)
Vc.
() 3
gliss.
19
124
a tempo
colla parte
a tempo
Fl.
Bn poco
I Cor. (fa)
poco
II
poco
con sord.
3
3
Tr. (si )
Cymb.
gliss. pour la Timb. à levier
gliss.
Timb.
G.c.
C. cl.
rall.
accel. 3
T. I 3
8
b
gj rfb cz>
i
pa kai sa, Da
a
Lf
fin
yt
dj
uht
nye
vo grye
d’n’pas
mou
[f[
khakh rir
ev
ht
ib.
um
rye
shi.
en
é
tat d’pé ché.
a tempo 3
3
3
T. II 3
8
xf
lj>
yf pt
vk/
b
gj rfb cz>
cha
da,
na zyem lyu
i
pa kai sa, Da
moi
et
con fess’
a
a tempo
toi,
colla parte
fin
Lf
yt
dj
uht
[f[
nye
vo
grye khakh
d’n’pas
mou
rir
3
ev
ht
ib.
um
rye
shi.
en
é
tat d’pé ché.
a tempo
Vln I come sopra 3
Vln II come sopra pizz.
arco
arco
3
Alt. pizz. arco
come sopra (pizz.)
pizz. arco
Vc. 3
pizz. gliss.
come sopra
Cb. come sopra
20
19 colla parte
stringendo ( = 126)
20
127
Fl.
( )
( )
( )
Bn
( )
( )
( )
I
( )
( )
( )
II
( )
( )
( )
Tr. (si )
( )
( )
( )
( )
( )
( )
( )
( )
( )
( )
( )
( )
( )
( )
( )
( )
( )
( )
( )
( )
( )
Cor. (fa)
Cymb.
Timb.
sempre poco étouffez subito
Cym. étouffez subito
G.c. petites baguettes lunga ad lib.
C. cl. !Gtne[ ujnjdbn „salto mortale“) (Le coq se prépare à sauter „salto mortale“)
!Kbcf c[dfnbdftn gtne[f b yjcbncz c ybv gj cwtyt> lth;f tuj gjlvsirjq@ (Renard saisit le coq et tourne autour de la scène en le tenant sous le bras) !Gtne[ jnxfzyyj jn,bdftncz@ (Le coq se débattant désespérément)
!Cghsuyek@ (Il saute)
( )
T. I
( )
8
19 colla parte Vln I
( )
Gj
yt
ckf
vt
yz
kb
cf>
Gj
yt
Pa
nye
sla
me
nya
li
sa,
Pa
nye
Ah!
mon
Dieu!
mon
Dieu! mon
Dieu!
Il
me
ckf
gt
ne
sla pye tu tir’
par
la
stringendo ( = 126)
20
(pizz.)
( )
( )
( )
(pizz.)
Vln II
( )
( )
( )
Alt.
( )
( )
( )
stacc. e sempre
simile
arco
Vc.
( )
( )
stacc. e sempre
( )
simile
arco
Cb.
( ) stacc. e sempre
( ) simile
( )
21
21
131
Fl.
( )
( )
=
Hb.
( )
( )
=
Cl. (si )
( )
( )
=
Bn
( )
( )
=
I
( )
( )
=
II
( )
( )
=
Tr. (si )
( )
( )
=
( )
( )
=
( )
( )
=
Timb.
( )
( )
=
G.c.
( )
( )
=
C. cl.
( )
( )
=
( )
( )
=
Cor. (fa)
(sord.)
Cymb.
T. I 8
[f>
Gj
rhe
nsv
,t
rfv>
Gj
ds
cj
rbv
uj
hfv> Dxe
kha,
Pa
kru
tïm
be rezh
ht;
kam,
Pa
vï
so
kim
ga
ram, Fchu zhi
queue...
Il
me
tir’
par
queue,
il
dé
chir’
mes
ha
la
bits,
Vln I
( )
( )
21 =
Vln II
( )
( )
=
Alt.
( )
( )
=
Vc.
( )
( )
=
Cb.
( )
( )
=
il
;i me
z
pt
ye zyem lâ
vkb>
li,
ch’ra plus
22
134
Fl.
Hb.
Cl. (si )
Bn
I Cor. (fa)
non
e non cresc.
II
Tr. (si )
Cymb.
Timb.
G.c.
C. cl.
T. I 8
D lf
kt
ri
z
cnhf
ys>
Pf
nhb
V da
lyo
ki
ye
stra
nï,
Za
tri
dev yat(s) ze
Qu’à
trent’
six
lieues
d’i
ci,
(trois
et
trois
arco
Vln I
Vln II sul do
Alt.
Vc.
Cb.
lt
dznm qui
pt font
vtkm> D nhbl
wf
nj
t
wfhcn
myel, F trid
tsa
to
ye
tsarst
trois
qui
font
six,
et
trois
fois
dj> D nhb lt
va, F tri dye dix,
et
trois
23
Fl.
(a )
22 ( )
Hb.
(a )
( )
Cl. (si )
(a )
( )
Bn
(a )
( )
I
(a )
( )
II
(a )
( )
Tr. (si )
(a )
( )
(a )
( )
138
Cor. (fa)
senza sord.
Cymb.
*
(a )
( )
Timb.
(a )
( )
G.c.
(a )
( )
C. cl.
(a )
( )
*
più
( )
(a )
T. I 8
cz
nj
uj
ce lfhcn dj;
Rjn
lf
,f
hfy>
{j
xtn c(tcnm vt
sya
to ye ga
su darst va;
Kot
da
ba
ran,
Kho
chet sest(s) mi
Frèr’
bouc,
frèr’
chat,
c’gros glou
fois
dix
et
t six
trent’ six!)
Vln I
(a )
22 ( )
Vln II
(a )
( )
arco
Alt.
(a )
( )
Vc.
(a )
( )
(a )
( )
* Pour l’instrument qui a le ré grave exécuter:
me
mang’
pizz.
arco
pizz.
pizz.
arco
pizz.
pizz.
arco
pizz.
trem.
Cb.
ton
kb
cf!
nya li
yz
sa!
ra,
trem.
24
=
141
Fl.
( )
Hb.
( )
Cl. (si )
( )
Bn
( )
I
( ) marc.
Cor. (fa)
( )
II marc.
( )
Tr. (si )
( ) Cymb.
*
*
*
( )
Timb.
( )
G.c.
( )
C. cl.
( )
( )
T. I 8
Rjn
lf
,f
hfy>
{j
xtn c(tcnm gt
ne [f!
Rjn
lf
,f
hfy>
J
Kot
da
ba
ran,
Kho
chet sest(s) pye
tu kha!
Kot
da
ba
ran,
O
frèr’
bouc,
frèr’
chat,
bons a
tez moi,
frèr’
bouc,
frèr’
chat,
v’nez
mis,
é
cou
( )
T. II 8
J
O v’nez arco
pizz.
arco
pizz.
arco
=
pizz.
( )
Vln I
arco
pizz.
arco
pizz.
arco
pizz.
( )
Vln II arco
pizz.
arco
pizz.
arco
pizz.
Alt.
( )
Vc.
( ) trem.
trem.
trem.
( )
Cb.
* Comme au-dessus.
25
23 144
=
Fl.
( )
Hb.
( )
Cl. (si )
( )
(
= 84)
(
= 84)
=
= 84
5
5
5
5
( )
Bn
sempre
e senza diminuendo
5
( )
I Cor. (fa) II
( )
Tr. (si )
( )
3
( ) 3
Cymb.
( )
Timb.
( )
G.c.
( )
C. cl.
( )
( )
T. I 8
ns
vb
tï
mi tye me
vit’,
nt
vt
ti
rez
moi
ns
vb
nt
vt
tï
mi tye me
yz!
nya! d’là!
( )
T. II 8
vit’,
ti
rez
yz!
nya!
moi
d’là!
23 = Vln I
( )
Vln II
( )
Alt.
( )
Vc.
( )
Cb.
( )
(
arco
= 84)
(
= 84)
=
= 84
3
3
3
26
24 Con brio =
147
(= 42) =
= 126
Fl.
Hb.
Cl. (si ) 5
5
5
Bn
I Cor. (fa) II
Tr. (si )
Cymb.
7
sub.
7
7
9
!Gjzdkz/ncz> rjn lf ,fhfy@ (Apparaissent le chat et le bouc)
24 Con brio =
(= 42) =
= 126
arco
Vln I arco
Vln II
Alt. Vc.
Cb.
150
Fl. = Fl.picc.
Fl. Cl. (si ) = Cl.picc. (mi )
Cl. (si )
Bn stacc. con sord.
Tr. (si )
Cymb.
7
7 7
7
7
B. I P[
ns>
re
ve
irf
uj
ke
Ekh
tï,
ku
mush
ka
ga
lu
bonn’
viell’
mèr’
Eh!
ma
Vln I
Vln II
Vc. sempre
,e irf!
bush ka! Re
nard,
27
153
25
Hb.
Cl. (mi )
Bn
I Cor. (fa) II
Tr. (si )
7
7
7
Cymb.
7
7
7
B. I Yt
reg
kty yj
t
e
nt ,z>
lt
it
dj
t;
E;
yt
gj
Nye
kup
lyon na
ye
u
tye bya,
dye
sho
va
ye;
Uzh
nye
pa
c’que
tu
té
cher,
ne
vou
E;
yt
gj
Uzh
nye
pa
as dans
l’bec
ne
t’a
pas
coû
drais
lt kbim
dye lish tu
pas
kb
vzc wf?
li
myas tsa?
t’en
dé fair’?
B. II
25
ne
vou
drais
le kbim
dye lish tu
pas
kb
vzc wf?
li
myas tsa?
t’en
dé fair’?
Vln I
Vln II
Alt.
Vc.
Cb. marcato
156
Cor. (fa) II
7
7
Cymb.
7
7
7
7
7
Timb.
T. I 8
B
nt
,t
nj
uj yt vb
yj
dfnm!
I tye
be
ta
vo nye mi
na
vat(s)!
Al lons!
donn’
ça,
ou bien on
t’fout
bas!
B. I Fkm
yt dt lf tim
Th
vfr
Pf
nht
ofk
yf
njo
Al
nye vye da yesh
Yer
mak
Za
tresh
chal
na
tash chak.
fr.
on
est des bons
chré
tiens,
on
te
pai
(e)
ra
bien.
fr.
B. II
Vln I
Fkm
yt dt lf tim
Th
vfr
Pf
nht
ofk
yf
njo
Al
nye vye da yesh
Yer
mak
Za
tresh
chal
na
tash chak.
on
est des bons
chré
tiens,
on
te
pai
(e)
ra
bien.
nous
28
26 159
Picc.
6
6
10
10
Hb.
Cl. (mi )
Bn
senza sord.
5
Tr. (si )
à grelots avec le pouce
come sopra
T.d.b.
C. cl. 7
!Kbcf dsgecrftn gtne[f b ,scnhj e,tuftn. Gtne[> rjn lf ,fhfy gkzien.@ (Renard lâche le coq et s’enfuit. Le coq, le chat et le bouc dansent.)
26
pizz.
Vln I pizz.
Vln II pizz.
Alt. pizz.
Vc.
27 Sempre l’istesso tempo
165
( = 126)
Bn
5
Tr. (si )
Cymb.
C. cl. 7
B. I Rfr
kb
cf
j
pjh
yb
xf
kf>
Rhfc
yf
z
j
pjh
yb
xf
Kak
li
sa
a
zor
ni
cha
la,
Kras
na
ya
a
zor
ni
cha
la
Re
nard,
un
jour,
chez nous,
met
tait
tout
sens
des
sus
des
sous
Mèr’
27 Sempre l’istesso tempo Vc.
( = 126)
kf
29
28 170
Fl.picc. = Fl.
Picc.
Cymb.
B. I B
ct,
I
sye bya
et,
z
la
garce,
B
ct,
z
I
sye bya
dt
kb
xf
kf.
E
ytq
,s
kb lf>
e
ytq
,s
kb lf>
e
ytq ,s
kb lf
ve
li
cha
la.
U
nyei bï
li da,
U
nyei bï
la da,
u
nyei bï
li da
ell’
s’en
van
tait.
C’est
vait, mais
c’est
c’est qu’elle
a
kf.
qu’elle
a
qu’elle
a
B. II
et,
la
garce,
dt
kb
xf
ve
li
cha
la.
ell’
s’en
van
tait.
arco
28
8
Vln I arco
Vln II arco
Alt.
29
175
Hb. grazioso
con sord.
I Cor. (fa) con sord.
II
con sord.
Tr. (si )
Cymb.
Timb.
B. I pe,
rb
kjd
rb lf>
E
zub
ki
lov
ki da,
U
cas
ser
vait, pour vous
ns
df
kf
uj
kj
syo skhva tï
cë
va
la
ga
lov
un
bon
ou
til
les
c[df reins,
arco
drb.
ki. tout
prêt.
29
Vc. (arco)
Cb.
vait,
mais
30
30
180
Fl. come sopra
Hb. 7
Cl. (mi )
Bn
I Cor. (fa)
sub.
sub.
sub.
sub.
sub.
sub.
II
Tr. (si )
Cymb.
sub.
G.c. à grelots
T.d.b.
Triang.
T. II 8
C[j lbk rs
xt
njr
cj
ldj
hf>
Cdj lbk rs
Skha dil kï
che
tok
sa
dvo
ra,
Svo dil kï
l’coq
qui
sort
d’chez
lui,
Voi
là m’sieur
ces
B. I Cj
ldj
hf...
Sa
dvo
ra...
Sort
d’chez
lui,
Cj
ldj
hf...
Sa
dvo
ra...
Sort
d’chez
lui,
B. II
30 Vln I
Vln II
Vc. pizz.
Cb.
arco
pizz.
dam’s
31
185
Fl.
Hb. 7
Cl. (mi ) 7
Bn
I Cor. (fa) II
Tr. (si )
Cymb.
T. II 8
xt
njr
pf
cj
,jq>
Re
hj
xtr
hz
,e
it
xtr.
che
tok
za
sa
boy,
Ku
ra
chek
rya
bu
she
chek.
poul’s
sont
a
vec
lui,
ses
p’tit’s
poul’s
tach’
tées.
chèr’s
B. I Pf
cj
,jq...
Za
sa
boy...
a
vec
lui,
B. II Pf
cj
,jq...
Za
sa
boy...
a
vec
lui,
sul sol
pizz.
sim.
Vln I gliss. sul sol
pizz.
sim.
Vln II gliss.
Vc.
arco
Cb.
pizz.
32
190
31
Cl. (mi )
Bn
Cymb.
Timb.
B. I Jn
rekm...
Jn
rekm...
{djcn gjl
;f
Ot
kul...
Ot
kul...
Khvost pad
zha
la,
Re
nard
kf>
Tout
à
coup,
Jn
rekm
dpz
kf
cz
kb
cb
Ot
kul vzya
la
sa
li
si
(il
n’y
comp
tait
mèr
kf>
Tout
à
coup,
wf>
Jn
rekm
dpz
kf
cz
rhfc
yf
z
{djcn gjl
;f
tsa,
Ot
kul vzya
la
sa
kras
na
ya
Khvost pad
zha
la,
pas),
tout
(il
n’y
sait
pas),
Re
nard
B. II
Tout
à
coup,
à
coup,
pen
mèr’
31 arco
Cb.
32 195
Bn cresc.
senza sord.
Cor. (fa) I
Cymb.
senza Ped.
Timb.
B. I Rs
xtn
re
xt
kjv
jn
lf
kf:
„Xf
dj
ikz
tim
cz>
if
Kï
chet
ku
che
lom
at
da
la:
„Cha
va
shlya
yesh
sa,
sha
est
là,
ell’
vous
l’sa
lue
tout
bas:
„Gare
à
toi,
gar
çon,
on
Rs
xtn
re
xt
kjv
jn
lf
kf:
Kï
chet
ku
che
lom
at
da
la:
est
là,
ell’
vous
l’sa
lue
tout
bas:
B. II
Cb.
32
beau
33
200
Bn
Cymb.
ouvrez peu à peu la pédale
Timb.
B. I nf
tim
cz?
Pltcm
kb
cf
gjl
;b
lf
tn
vzc
ta
yesh
sa?
Zdes
li
sa
pad
zhi
da
yet
myas
wf.“
tsa!“
t’y
prend
donc!
On
va
t’don
ner
un’
bonn’
p’tit’
le
çon!“
pizz.
Alt.
Vc.
pizz.
Cb.
33
3
ossia
204
Fl.
3 7
Cl. (mi ) 3
Bn 7
Cymb.
T. II 8
„Yt
tim
vt
yz>
kb
csym
„Nye
yesh
men
ya,
li
sïn
ka,
„Ne
me
mang’
pas,
mèr’
Re
nard,
rf>
B. I
33
Yt
arco
Vln I arco
Vln II
arco
Alt.
Vc.
arco
Cb. 3
ossia
tim
Nye
yesh
mèr’
Re
34
34
3
ossia
209
Fl.
3
3
Cl. (mi ) 3
3
Cymb.
B. I vt
yz>
rhf
cyf
z!
men
ya,
kras
na
ya!
nard,
pi
tié
pour
moi!
34 Vln I 3
sempre sim.
Vln II
Alt.
Vc.
Cb.
3
ossia
214
Fl.
3
7
Cl. (mi ) 3
Cymb. †
* B. I Yt
,e
ltn
kb
Nye
bu
dyet
li
N’au
ras
tu
c nt,
(s) te
pas
as
z
Re
hj
hz
,e
it
bye
Ku
ra
chek rya
bu
she chek?“
mes
dam’s, mes
chèr’s
p’tit’s femm’s?“
sez
a
vec
xtr
xtr?“
B. II Re
hz
,e
it
Ku
rya
bu
she chek?“
mes
chèr’s
p’tit’s femm’s?“
a
Vln I 3
Vln II
Alt.
Vc.
Cb.
* Parlando (mezza voce). † En cas d’absence du ré grave.
vec
xtr?“
35
35 219
Fl.
3
7
Cl. (mi ) 3
5
senza sord.
5
5
5
5
Tr. (si )
Cymb.
sim.
C. cl. 7
7
T. I 8
„Yt
[j
xe
vz
cwf
by
yf
uj>
„Nye
kha
chu
mya
stsa
i
na
va,
„Non!
c’est
ta
car
qu’il
me
faut.
cass’
35 Vln II
Alt.
Vc.
Cb.
3
ossia
224
Fl.
36
Fl. = Fl.picc. 3
Hb. Cl.picc. (mi ) = Cl. (la)
Cl. (mi ) 3
Tr. (si )
Cymb.
C. cl. 3
T. I 8
{j
xe
Kha J’au
gt
ne
ib
yf
uj!“
tu
shi
na
va!“
peau, j’au
rai
tes
os!“
chu pye rai
ta
36 Vln II
Alt.
Vc.
Cb.
3
36
229
7
Hb.
Bn con sord.
Tr. (si ) 7
C. cl. 3
3
3
3
3
3
molto
T. I 8
B. I J
O O
Vln II
Alt.
Vc.
Cb.
37
235
come sopra
Hb.
Bn 7
come sopra
Tr. (si ) 7
C. cl. 3
3
3
3
3
molto
T. I 8
J
O O
T. II 8
J
O
molto
O
B. I
37 Vln II
Alt.
Vc.
Cb.
37
38
240
Hb. come sopra
Bn 7
Tr. (si ) 7
7
C. cl. 3
3
3
3
3
come sopra
T. I 8
J
O O
come sopra
T. II 8
J molto come sopra
B. I J
O O
molto
come sopra
B. II J
O O
38 Vln II
Alt.
Vc.
Cb.
245
7
7
Hb. Bn 7
Tr. (si ) 7
C. cl. 3
3
3
cresc.
3
3
3
T. I 8
molto
J
J
O
O
O
O
T. II 8
J
J
O
O
O
O
Vln I cresc.
Vln II
Alt.
Vc.
Cb.
O O
38
39 249
Hb. = Cor ang.
Hb.
Cymb.
senza Ped.
senza Ped.
Timb. sim.
secco
B. I Dpz kf kb
cf
rs
xt
nf
pf
,j
rb>
Gj
yt
ckf
t
uj
lf
kë
rj
Vzya la
sa
kï
che
ta
za
bo
ki,
Pa
nye
sla
ye
vo
da
lyo
ka
Re
nard
prend
l’coq
par
les
côt’s,
ell’
saut’
d’un
bond
l’mur,
ell
saut’
l’aug’,
li
Voi là qu’mèr’
B. II Dpz kf kb
cf
Gj
yt
ckf...
Vzya la
sa
Pa
ne
sla...
re
ell’
saut’
li
Voi là qu’mè
39 avec le talon
Vln I
Vln II
Alt.
253
Picc. 3
Cymb.
senza Ped.
senza Ped.
Timb.
B. I
Vln I
Pf
gtym>
pf
rj
kj
le>
Pf
,t
ke
/
,t
ht
pe...
Za
pyen,
za
ka
lo
du,
Za
be
lu
yu
be
ryo
zu...
l’tir’
par
la
peau
du
dos,
l’em
port’
der
rièr’
le
bou
leau...
3
3
pizz.
Vln II
Alt.
Vc.
Cb.
3
39
40 256
Fl. picc. = Fl.
Picc.
Cymb.
Timb.
!Rjn lf ,fhfy elfkz/ncz@ (Le chat et le bouc se retirent)
B. I Re
hs
rs
xt
nf
yt
cks
ien.
Ku
rï
kï
che
ta
nye
slï
shut.
sont
trop
loin,
ell’s
n’en
Ces
dam’s
tend’nt rien.
B. II Rs
xtn>
rkb
xtn lf
rs
xtn
rkb
xtn...
Re
hs
rs
xt
nf
yt
cks
ien.
Kï
chet, kli
chet da
kï
chet
kli
chet...
Ku
rï
kï
che
ta
nye
slï
shut.
coq,
pauv’
coq!
sont
trop
loin,
ell’s
n’en
Co
co
co
co
co
Ces
dam’s
40 8
Vln I arco
Vln II sul do pizz.
Alt. gliss.
41 260
Meno mosso ( = 63)
Cor ang.
Bn 7
Cor. (fa) I
3
Cymb.
9
G.c. !Gtne[ dp,bhftncz yf cdj/ dsire b ecf;bdftncz gjelj,ytt@ (Le coq remonte sur son perchoir et s’installe commodément)
41 Meno mosso ( = 63)
(pizz.)
Alt. poco
tend’nt rien.
40
263
con sord.
42
Tr. (si )
T. I 8
Cb
;e
yf
le
,e>
Cb
;e>
ljv
cnt
ht
ue>
Si
zhu
na
du
bu,
Si
zhu, dom
ste
re
gu,
Je
suis
sur
mon
ton,
je
garde
la
mai
son,
bâ
42 (arco) sul do
sempre sim.
Vc.
sempre sim.
pizz.
Cb.
267
Cor ang. = Hb.
Cor ang.
Bn
I Cor. (fa) II
Tr. (si )
Cymb.
9
!Ghb[jlbn kbcf. Jyf c,hfcsdftn c ct,z vjyfitcrjt jltzybt.@ (Arrive Renard. Il laisse tomber son costume de religieuse.)
T. I 8
Gtc
y/
gj
/.
Pyes
nyu
pa
yu.
ma
chan
son.
j’chante
Vc. pizz.
Cb.
41
43 Sempre l’istesso tempo ( 271
= 63)
3
3
Cl. (la)
con sord.
Cor. (fa) I (con sord.) 3
Tr. (si )
3
3
3
Cymb.
3
3
3
3
T. II 8
Re
ref ht
re>
Ku
kya re
ku, pe
Co
co
ri
co,
gt sei
ne ijr>
Pj
kj
njq uht
,t ijr>
Xt
cfy
yf
uj
kj
dei
rf>
tu shok,
Za
la
toi gre
be shok,
Che
san
na
ga
lo
vush
ka,
coif
Clair
Re
Barb’
fri
sée,
gneur coq,
43 Sempre l’istesso tempo (
Crêt’
d’Or, Têt’ bien
fée,
= 63)
gard,
(pizz.) sul do
Vc. gliss. (non rapido)
sempre sim.
44
275
3
Fl.
Cl. (la)
T. I 8
ukz
;e
dj
Nye glya
zhu
va
Non,
n’t’ou
vri
Yt
je
T. II 8
Itk
rf
df
,j
hj
lei
rf>
Ds
ukz
yb
dj
rji
Shol
ka
va
ba
ro
dush ka,
Vï
glya
ni
va
kosh
ka.
bel
ha
bil
lé
beau
sei
gneur
coq,
ouvr’
moi.
tout
en
ve
lours,
rj.
44
Vc.
280
Fl. 7
7
7
7
Cl. (la)
Cor. (fa) I
T. I 8
rji
rj.
Yt
yf
lj
vyt
uj
hj
kosh
ka.
Nye
na
da
mnye
ga
rosh
ku.
rai
pas.
Les
coqs
n’aiment
pas
les
p’tits
pois,
ire.
T. II 8
Vc.
Lfv
nt,
t
uj
hj
Dam
te
bye
ga
rosh
ku.
J’te
don
n’rai
des
p’tits
pois.
ire.
42
45 283
Cl. (la)
Bn poco
Tr. (si ) poco
T. I 8
45
Gt
ne[
ire
re
if
tn>
kb
ce
yt
cke
if
Pye
tukh
rf
kash
ku
ku
sha
yet,
li
su
nye
slu
sha
les
coqs
aiment
seul’
ment
le
grain,
Re
nard
parle,
ils
arco
Alt.
Vc.
287
Fl.
Hb. trem.
Cl. (la)
Bn
senza sord.
Cor. (fa) I
T. I 8
tn.
yet.
!Afkmwtn@ (fausset)
rien.
B. I Gt
ne
ijr>
gt
ne
ijr!
Pye
tu
shok,
pye
tu
shok!
Pe
tit
coq,
pe
tit
coq,
pizz.
Vln I pizz.
Vln II con sord.
Alt. sempre simile arco
Vc.
Cb.
n’en
tend’nt
43
291
46
Fl.
=
Hb.
=
Cl. (la)
=
Bn
= molto
=
I Cor. (fa)
senza sord., cuivré
=
II
= Cymb.
= ouvrez peu à peu la pédale
=
Timb.
secco
G.c.
=
T.d.b.
=
à grelots
coup de genou
!Afkmwtn@ (fausset)
=
B. I E
vt
yz
nj
[j
hj
vs
,jkm
ib
t>
U
men
ya
ta
kha
ro
mï
bal
shi
ye,
j’ai
un’
grand’
mai
son
tout’
plein’
de
grain,
46 Vln I
=
Vln II
=
Alt.
= pizz.
arco
Vc.
=
Cb.
=
44
295
Fl.
=
Hb.
=
Cl. (la)
= come sopra
Bn
=
I
=
Cor. (fa) come sopra
=
II
= Cymb.
=
Timb.
=
G.c.
=
T.d.b.
=
Ă grelots
simile
!Afkmwtn@ (fausset)
=
B. I D
rf;
F kazh tu
ljv
e
uke
git ybx
rb
gj
vt
hjx
dom
ug
lu
(p)she nich
ki
pa
mye
rach
en
au
ras
que
tu
vou
tant
Vln I
=
Vln II
=
Alt.
= pizz.
Vc.
=
Cb.
=
45
47 299
Fl.
Hb.
Cl. (la)
Bn
I Cor. (fa) II
Cymb.
Timb.
G.c.
T.d.b.
T. I 8
!Afkmwtn@ (fausset)
yt
[j
nye kha J’ai
pas
yt
[j
*
B. I rt:
T
(t)
im>
csn>
kye:
Ye
(ye)
sh,
sït,
dras...
Pi
Pi
(i)qu’!
(i)qu’!
47 Vln I
Vln II
Alt. arco
Vc.
Cb.
* Bcgjkyznm nfr: * Exécution: csn
(nf) yt
[j
xe.
sï
(ta) nye
kha
chu
nye kha
46
48
303
3
3
Cl. (la)
Bn
(con sord.) 3
Tr. (si )
3
9
3
3
Cymb.
T. I 8
xe!
chu! faim!* 3
3
3
3
T. II 8
Re
ref ht
re
gt
ne
ijr>
Pj
kj
njq
uht
Ku
kya re
ku
pye
tu
shok,
Za
la
toy
gre
bye shok,
co,
sei
gneur
coq,
Crêt’
d’Or
Têt’
bien
coif
Co
co
ri
,t
ijr> fée
B. I xe!
chu!
48 Vln I
Vln II
Alt.
306
come sopra
Cl. (la)
T. II 8
Itk
rj
df
,j
hj
le
irf!
Ds
ukz
yb
dj
rji
rj>
Lfv
nt
,t
Shol
ka
va
ba
ro
dush
ka!
Vï
glya
ni
va
kosh
ka,
Dam
tye
bye
le
Clair
Re
gard,
Barb’
fri
sée,
beau
sei
gneur
coq,
ouvr’
moi;
j’t’ap
port’
un
mor
arco
Vln I dolce pizz. come sopra
Vc. gliss.
* Pour le français cette fin de la phrase est confiée au 1er ténor, la basse se taisant.
kt
47
49
311
Fl. 7
7
7
7
Cl. (la)
con sord.
Cor. (fa) I
T. I 8
Yt
yf
lj
vyt
kt
gt
Nye
na
da
mnye
lye
pyosh
irb
ki
M’en
nuie
pas
a
vec
ton
pain!
T. II 8
gë
ire.
pyosh
ku.
ceau
d’pain.
49 Vc.
314
Cl. (la)
Bn poco
(con sord.)
Tr. (si ) poco
5
Cymb.
T. I 8
Gt
ne[
yt
nfr
nj
ukeg>
Yt
ukj
lfnm
nt
,t
vjq
Pye
tukh
nye
tak
ta
glup,
Nye
glo
dat(s)
tye
bye
moy
Pas
si
bêt’,
pas
si
bêt’!
Je
gard’
mon
bien,
gard’
ton
Vln I
Vln II
senza sord.
Alt.
Vc.
Cb.
48
50 318
Fl. 7
Hb.
7
Cl. (la)
Bn
senza sord.
I Cor. (fa) II
Tr. (si )
6
Cymb.
senza Ped.
Timb.
étouffez
Cym.
baguettes en bois
Triang.
T. I 8
!Afkmwtn@ (fausset)
[keg(.
khlup. bien.
B. I J[>
ns
gt
nz>
gt
Okh,
tï
pye
tya,
pye
tu
Coq
de
mon
coeur,
beau
pe
50 pizz.
Vln I
(pizz.)
Vln II
con sord.
Alt. sempre simile arco
Vc.
Cb.
ne tit
49
321
Fl.
Hb.
Cl. (la)
Bn
I Cor. (fa) bouché, cuivré
II
Cymb.
ouvrez peu à peu la pédale
Timb. secco
G.c.
à grelots
T.d.b. coup de genou
B. I ijr(>
Cge
shok, Spush coq,
des
ofq
cz
rf
ns
yf
yb
pz
ot
t>
chai
sa
ka
tï
na
ni
zya
shche
ye,
cends
d’où
tu
es
per
ché
vers
plus
bas, ten.
B. II ...ot
t>
...shche
ye,
...plus
bas,
Vln I
Vln II
Alt.
pizz.
arco
Vc.
Cb. molto
pizz.
50
325
Fl.
Hb.
Cl. (la)
Bn
I Cor. (fa) come sopra
II
Cymb.
Timb.
G.c. come sopra
T.d.b.
!Afkmwtn@ (fausset)
B. I ot
uj
yf
ptv
kz
ot
t>
(S)niz yash che
vo
na zem
lya
shche
ye,
plus
bas jusqu’
sur
la
terre,
C yb et
pz d’en
cor’
B. II ...ot
t>
...shche
ye,
...la
terre,
Vln I
Vln II
Alt.
arco
Vc.
Cb.
51
329
51
Fl.
Hb.
Cl. (la)
Bn
I Cor. (fa) II
Cymb.
Timb.
G.c. à grelots
T.d.b.
come sopra
!Afkmwtn@ (fausset)
B. I Z
ndj
/
le
ie
Ya
tva
yu
du
shu na
yf
nye bye
Et
je
t’em
por
t’rai
vi
tout
yt
,t vant
cf
dpyt
ce!
sa
(vz)nye
su!
dans
le
ciel.
B. II ...dpyt
ce!
...(vz)nye
su!
...le
ciel.
51 Vln I
Vln II
Alt.
pizz.
Vc.
Cb.
arco
52
52 colla parte
334
Fl.
(
)
Hb.
(
)
Cl. (la)
(
)
Bn
(
)
I
(
)
(
)
(
)
(
)
Timb.
(
)
Cym.
(
)
(
)
(
)
(
)
(
)
Vln I
(
)
Vln II
(
)
Alt.
(
)
Vc.
(
)
Cb.
(
)
Cor. (fa) II
3
Cymb.
9
étouffez subito
G.c. petites baguettes lunga ad lib.
étouffez subito
C. cl.
B. I
B. II
Gtne[ ujnjdbn („salto mortale“). T. 1sq rhbxbn: „Yt jcrjhjvmcz Kbcsymrf!“
Gtne[ cghsuyek. Kbcf c[dfnsdftn tuj. T. 2jq !jxtym ,scnhj@: „Rjve crjhjvyj> f yfv pljhjdmt!“
„Nye askromsa Lisïnka!“
„Kamy skaromna a nam zdarovye!“
Le coq se prépare à sauter („salto mortale“). Le 1er T. crie: „Ne fais pas gras, Renard!“
Le coq saute. Renard s’empare de lui. Le 2me T. (très vite): „Pour d’autres, c’est gras; pour nous, c’est maigre!“
52 colla parte
53
53 Stringendo (
= 126)
come sopra
338
(
Fl.
)
(
)
(
)
(
)
come sopra
Bn
(
)
(
)
(
)
(
)
(
)
(
)
(
)
(
)
(
)
(
)
(
)
(
)
(
)
(
)
(
)
(
)
(
)
(
)
Cymb.
Timb.
sempre poco
!Kbcf yjcbncz c gtne[jv gj cwtyt> lth;f tuj gjlvsirjq. Gtne[ jn,bdftncz.@ (Renard tourne autour de la scène en tenant le coq sous le bras. Le coq se débattant desespérément.)
(
T. I
)
8
(
)
Gj
ytc
kf
vt
yz
kb
cf>
Gj
ytc
kf
Pa
nes
la
men
ya
li
sa,
Pa
nes
la pye tu
Ah!
mon
Dieu!
mon
Dieu!
il
m’a
pris par
Dieu! mon
gt
ne les
[f>
Gj
rhe
nsv
,t
kha,
Pa
kru
tïm
be rezh
ht;
ch’veux,
il
m’a
pris
par les
53 Stringendo ( = 126) (pizz.)
(
Vln I
)
(
)
(
)
(
)
(
)
(
)
(
)
(
)
(
)
(
)
(
)
(
)
(
)
(
)
(pizz.)
Vln II
(
)
Alt.
(
)
(arco)
simile
sempre (arco)
(
Vc.
)
(
) simile
sempre (arco)
(
Cb.
)
(
)
sempre
simile
54
341
Fl.
(
)
=
Bn
(
)
=
(
)
=
(
)
=
(
)
=
(
)
=
(
)
=
con sord.
Tr. (si )
Cymb.
Timb.
T. I 8
rfv>
Gj
ds
cj
rbv
uj
hfv>
;b
z
ptv
kb>
D lf
kt
rî
z
cnhf
kam,
Pa
vï
sok
im
ga
ram, (F) chu zhi
ye
zem
li,
(V) da
lyo
ki
ye
stra
nï,
ch’veux,
il
me
tir’
par
la
queue,
tout
nu
comm’
un
pe
tit
Jé
sus
54 Vln I
(
)
=
Vln II
(
)
=
Alt.
(
)
=
Vc.
(
)
=
Cb.
(
)
=
D xe il
va m’ mettr’
ys>
54
344
Fl.
Cl. (la)
Bn
Cor. (fa) I non
e non cresc.
Tr. (si )
Cymb.
Timb.
T. I 8
Pf
nhb
lt
dznm
pt
vtkm>
D nhb
lkf
nj
t
wfh
cndj>
D nhb
lt
Za
tri
dev
yat(s)
ze
myel,
(F) tri
dla
to
ye
tsarst
va,
(F) tri
de
j’suis
per
du,
j’suis
fi
chu,
au
s’cours
j’en
peux
plus,
ah!
mon
Dieu,
arco
Vln I
(arco) sul do
Alt.
347
Tr. (si )
(a )
( )
(a )
( )
(a )
( )
(a )
( )
Cymb.
T. I 8
cz
nj
t
uj
ce
lfh
cndj;
sya
to
ye
go
su
dar
stva;
rait
cru,
qui
l’au
rait
cru?...
qui
l’au
55
55 ( )
348
Fl.
Hb.
( )
Cl. (la)
( )
Bn
( )
I
( )
Cor. (fa) II
( )
Tr. (si )
( )
senza sord.
( ) Cymb.
*
*
*
( )
Timb.
( )
C. cl.
( ) più
( )
T. I 8
Vln I
Vln II
55 ( )
Rjn
lf
,f
hfy>
{j
Kot
da
ba
ran,
Kho
Frèr’
bouc,
frèr’
chat,
pour quoi n’êt’s
vous
pas
yz kb
cf!
Rjn
lf
,f
hfy>
ya
sa!
Kot
da
ba
ran,
frèr’
bouc,
frèr’
chat,
là?
li
arco
pizz.
arco
pizz.
arco
pizz.
arco
pizz.
arco
pizz.
arco
pizz.
pizz.
arco
pizz.
arco
pizz.
( )
Alt.
( )
Vc.
( ) trem.
Cb.
xtn c(tcnm vt
chet syest(s) men
( )
* Pour l’instrument qui possède le ré grave exécuter:
trem.
trem.
56
56 =
351
(
= 84)
( )
Fl.
Hb. = Cor ang.
Hb.
( )
Cl. (la)
( )
Bn
( )
I
( ) marc.
Cor. (fa)
( )
II marc.
( )
Tr. (si )
( ) Cymb.
*
*
( )
Timb.
( )
G.c.
( )
C. cl.
( )
( )
T. I 8
{j xtn c(tcnm
gt
Kho chet syest(s) pye bons
a
mis,
é
ne
[f!
Rjn
lf
,f
hfy>
J
ns
vb
tu
kha!
Kot
da
ba
ran,
O
tï
mi tye men
cou
tez
frèr’
bouc,
frèr’
chat,
c’en
est
fait d’moi cett’
moi,
nt
vt
( )
T. II 8
J
ns
vb
O
tï
mi tye men
c’en
est
fait d’moi cett’
56 arco
pizz.
arco
=
pizz.
(
( )
Vln I
arco
pizz.
arco
pizz.
( )
Vln II arco
pizz.
arco
pizz.
Alt.
( )
Vc.
( ) trem.
trem.
( )
Cb.
* Comme au-dessus.
= 84)
nt
vt
57
(
= 84)
=
9
= 84
354
5
5
5
5
5
5
Bn sempre
5
I Cor. (fa) II
7
Cymb.
3 3
3
3
3
3
!Kbcf eyjcbn gtne[f d cnjhjyre b j,obgsdftn tuj@ (Renard emporte le coq sur le côté de la scène et commence à le déplumer)
T. I 8
yz!
ya! fois!
T. II 8
yz!
ya! fois!
57 Moderato
( = 84)
357
Cor ang.
Bn
I Cor. (fa)
en dehors
II
Cymb.
secco
Timb. !Gtne[ crekbn@ (Le coq se lamente)
T. I 8
J[>
ns
kb
csym
rf>
kb
cb
wf>
Yt
gj
hjx
yf
z
ctc
nhb
wf!
Okh,
tï
li
sïn
ka,
li
si
tsa,
Nye
pa
roch
na
ya
ses
tri
tsa!
(a)ïe,
aïe,
Re
nard,
très
cha
ri
tabl’,
très
vé
né
ra
ble,
A
57 Moderato
aïe!
mèr’
( = 84)
secco
Vc.
Cb. sempre stacc.
58
58
361
Cor ang. 5
Cl. (la)
Bn I Cor. (fa)
dim.
II dim.
Cymb.
étouffez
come sopra
(senza Ped.)
Timb.
T. I 8
Rfr
e
yf
it
uj>
e
,f
n/i
rb
vf
Kak
u
na
she
va,
u
ba
tyush
ki
ma
chez
pa
pa,
ver ras,
là
viens
58
et
tu
bas
arco
Vln I arco
Vln II
(pizz.)
arco
pizz.
arco
pizz.
Alt. pizz.
secco
Vc.
Cb.
365
Cor ang. 9
Cl. (la)
Bn I Cor. (fa) II
Timb. T. I 8
ckb
wtv( ,kby
rb
gj
kb
df
/n
sli
tsem blin
ki
pa
li
va
yut tye bya (v)
tu
ver
ras,
chez
pa
pa,
nt ,z d
comme on
te
uj
cnb
gjl
;b
lf
go
sti
pad
zhi
da
/n.
yut.
soi
gn’ra,
tu
ver
ras,
comm’ (pizz.)
Alt. arco secco
Vc.
Cb.
pizz.
59
368
59 Poco a poco accelerando
al
= 112
Fl.
Cor ang.
Cl. (la)
poco sempre dim.
Bn
I Cor. (fa) II
Tr. (si )
Cymb.
e sempre dim.
Timb.
T. I 8
Nfv
nj
Tam ta c’est
ser
yt
gj
yf
it
ve
gb
hj
ub c
rf
ot
Gj
vz
nye
pa
na
she my
pi
ra
gi s
kash
che yu.
Po
mya
ni,
beurr’
sur
la
ble!
Sei
gneur,
prends
vi.
C’n’est pas
comme i
ci,
ya
59 Poco a poco accelerando
du
ta
/
pizz.
al
= 112
Vln I
pizz.
Vln II
arco
sul do
sul do
Alt. subito arco
come sopra pizz.
Vc.
pizz.
Cb.
yb>
60
373
60
Fl.
Cor ang.
Cl. (la)
Bn
I Cor. (fa) II
Tr. (si )
Cymb.
Timb.
T. I 8
Ujc
gj
lb
Cb
lj
hf>
Vf
rf
hf>
Nhtnm
z
uj
Pf
Gos
po
di
Si
do
ra,
Ma
ka
ra,
Tret
ya
va
Za
sous
ta
gard’
Sé
ra
phi
ne,
ma
sin’,
ma
60 arco
Vln I
arco
Vln II
sul do
Alt. come sopra arco
Vc.
arco
Cb.
cou
bonn’ mar
61
61
378
Fl.
Cor ang.
Cl. (la)
Bn
I Cor. (fa) II
Tr. (si )
Cymb.
Timb. sempre
subito
T. I 8
[f
kha rain’
hf> Nht[
Vf
nhty> Lf
Ke
re
c Gtn
ra, Tryokh
Ma
tren, Da
Lu
ku
s Pet rom,
les
Saints, An
dré
mon
Cath’ rine,
tous
par
hjv> rain,
Lt
lf
Vb
hj
Dye
da
Mi
ro
lin’
qui
fait
A
de
61 pizz.
arco
pizz.
arco
pizz.
pizz.
arco
pizz.
arco
pizz.
pizz.
arco
pizz.
arco
pizz.
pizz.
arco
pizz.
arco
pizz.
pizz.
arco
pizz.
arco
pizz.
Vln I
Vln II
Alt.
Vc.
Cb.
t
ye l’pain,
62
381
Fl.
Cor ang. = Hb.
Cor ang.
Cl. (la)
Bn
con sord.
I Cor. (fa) con sord.
II
con sord.
Tr. (si )
Cymb.
Timb.
!Gtne[ crbcftn@ (Le coq défaille)
T. I 8
kf>
<f
la, Bab et Jean
qui
,re <tkm
vf
nre> N/
ie
ku Bel
mat
ku, Tyu
shu da
tra vaille
au
mou lin,
Fé
lf
Rf
n/
ie>
Ka tyu shu,
li
cie,
Fé
li
<f
,ei
re
Vfn h/
ie...
Ba
bush
ku
Ma tryu
shu...
ci(e Si)
do
nie,...
do
nie...
do...
arco
pizz.
arco
pizz.
arco
pizz.
arco
pizz.
arco
pizz.
arco
pizz.
arco
pizz.
arco
pizz.
arco
pizz.
arco
pizz.
arco
pizz.
arco
pizz.
arco
pizz.
arco
pizz.
arco
pizz.
arco
pizz.
arco
pizz.
arco
pizz.
arco
pizz.
arco
pizz.
Vln I
Vln II
Alt.
Vc.
Cb.
63
62 Scherzando (
= 152)
385
( )
( )
( )
( )
( )
( )
( )
( )
( )
( )
Cymb.
!Gjzdkz/ncz rjn lf ,fhfy. Jyb buhf/n yf uectkmxf[ k/,tpyre kbct.@ (Apparaissent le chat et le bouc. Ils chantent, en s’accompagnant sur la guzla, une aimable chanson à Renard.)
( )
B. I
( )
( )
N/r>
n/r>
ue
Tyuk,
tyuk,
gu
Tiouc,
tiouc,
on
62 Scherzando (
ctkm ws>
( )
( )
,f
hf
yj
ds
cnhe
sel
tsï,
ba
ra
no
vï
stru
te
doux
la
jo
li’
chan
chan
son
yjx
rb...
nach ki... que
voi
là,
N/r>
n/r...
Tyuk,
tyuk...
tiouc,
tiouc...
= 152)
à pointe d’arco
arco
Vln I (pizz.) sul sol
Vln II (pizz.)
Alt.
63 390
Cymb.
* Timb.
B. I Rfr cnhe
yf
nj
pf
ue
kf>
n/r>
n/r...
Lf
pf
ue
kf>
f
lhe
uf
z
Kak stru
na
ta
za
gu
la,
tyuk,
tyuk...
Da
za
gu
la,
a
dru
ga
ya
ne chant’nt pas
tant
doux
qu’ça!)
Tiouc,
tiouc,
pour
l’a
mour
de
vous,
on
la
(Ils
chant’ tout
B. II Rfr cnhe
yf
nj
pf
ue
kf>
Lf
pf
ue
kf>
f
lhe
uf
z
Kak stru
na
ta
za
gu
la,
Da
za
gu
la,
a
dru
ga
ya
ne chant’nt pas
tant
doux
qu’ça!)
pour
l’a
mour
de
vous,
on
(Ils
63 Vln I
Vln II
Alt. sul pont. arco
sempre sim.
Vc.
(pizz.)
sempre sim.
Cb.
* Pour l’instrument qui a le ré grave exécuter (supprimez dans ce cas les parties des Violoncelle, Contrebasse et Timbales du 63 ):
Cymb.
la
chant’ tout
64
64
395
( )
( )
( )
( )
( )
( )
( )
( )
( )
Cymb.
* Timb.
B. I ghb
uj
df
hb
df
kf:
N/r>
n/r>
ue
pri
ga
va
ri
va
la:
Tyuk,
tyuk,
gu
la
chan
te
tout
doux.
Tiouc,
tiouc,
on
ghb
uj
df
hb
df
kf:
pri
ga
va
ri
va
la:
la
chan
te
tout
doux.
bas;
on
ctkm ws> la
,f
hf
yj
ds
cnhe
sel
tsï,
ba
ra
na
vï
stru
nach ki...
yjx
rb...
chan
te
tout
doux, pour
l’a
mour
de vous...
B. II
bas;
on
64
Vln I
Vln II
Alt. 8
Vc.
Cb.
* Comme au-dessus. Cymb.
400
( )
( )
( )
( )
Cymb.
simile
Timb. simile
G.c.
B. I
B. II
( )
( )
N/r>
n/r...
E;
rfr
lj
vf
kb
kb
Tyuk,
tyuk...
Uzh
kak
do
ma
li
li
sa,
Tiouc,
tiouc...
Où
est
ell’?
Est
ell’
chez
ell’?
( ) E;
rfr
lj
vf
kb
kb
cf>
e;
rfr
Uzh
kak
do
ma
li
li
sa,
uzh
kak
Où
est
ell’?
Est
ell’
chez
ell’?
Où
est
Vln I
Vln II
Alt. pizz.
Vc. (pizz.)
Cb.
cf>
65
406
senza sord.
65
Cor. (fa) II senza sord.
Tr. (si )
près du chevalet (sul ponticello)
Cymb.
*
meno
Timb.
Cym. G.c.
à grelots
T.d.b.
B. I e; rfr
lj
uzh kak Où
est
vf
kb
kb
cf
B
df
yj
dyf.
N/r>
n/r>
do ma
li
li
sa
I
va
nov
na.
Tyuk,
tyuk,
est
ell’
chez
ell’?...
Tiouc,
tiouc. .
ell’? Ma dam’ Re nard
B. II lj
vf
kb
kb
cf>
Dj
do
ma
li
li
sa,
Va sva
ell’?
Est
ell’
chez
ell’?
Est
65
pizz.
Vln I
(pizz.)
Vln II
Alt.
Vc.
Cb.
* Pour l’instrument qui a le ré grave.
cdj ce
66
411
Cor. (fa) II
Tr. (si )
*
( )
Cymb.
( )
Timb.
Cym. G.c.
T.d.b.
( )
B. I Lf
cj
cdj
b
vb
vf
ks
vb
lt
Da
sa sva
i
mi ma
lï
mi
dye
Pour rait
on
ler
à
par
ne
irf
vb?
ka
mi?
ses
d’moi
sell’s?
ne
irf
vb?
ka
mi?
d’moi
sell’s?
tush
B. II tv
pj
kj
njv
uytp
lt>
yom
za
la
tom
gnez
dye, Da
qu’on
pour rait
lui
par
Lf
ler?
cj
cdj
b
vb
vf
ks
vb
lt
sa sva
i
mi ma
lï
mi
dye
Pour rait
on
ler
à
par
tush ses
Vln I
Vln II
Alt.
Vc.
Cb.
66 416
( )
( )
( )
( )
( )
( )
( )
( )
( )
( )
( )
( )
( )
( )
( )
Cymb.
B. I
N/r>
n/r>
ue
Tyuk,
tyuk,
gu
Tiouc,
tiouc,
on
66 à pointe d’arco arco
Vln I (pizz.)
Vln II (pizz.)
Alt. 8
arco
Vc.
* Pour l’instrument qui a le ré grave.
ctkm ws>
sel vous chan
,f
hf
yj
ds
cnhe
tsï,
ba
ra
na
vï
stru
te
tout
l’a
mour
doux, pour
yjx
rb...
nach ki... de
vous...
N/r>
n/r...
Tyuk,
tyuk...
Tiouc,
tiouc...
67
421
colla parte
67
( )
Bn senza sord.
( )
I Cor. (fa) II
( )
Tr. (si )
( ) ( )
Cymb.
3
3
( ) *
*
( )
Timb.
( )
Cym. (à grelots)
( )
T.d.b. poco rall.
(sans grelots)
( )
B. I F
A la
hf
z
nj Gjl
xe
xtk
(f) ta ra
dnj
ya
ta Pad
chu
chel
rf>
ka,
deu xièm’, c’est Mam’ sell’
Cor
ni
chon,
( )
B. II Gth
df
z
nj
ljxm
Xe
xtk
rf>
F
Pyer
va
ya
ta
doch
Chu
chel
ka,
A
La
pre mier’, c’est
Mam’
sell’
Tor
chon,
la
hf
z
nj Gjl
xe
xtk
(f) ta ra
dnj
ya
ta Pad
chu
chel
rf>
ka,
deu xièm’, c’est Mam’ sell’
Cor
ni
chon,
colla parte
67
( )
Vln I
arco
( )
Vln II arco
Alt.
( )
Vc.
( ) arco
( )
Cb.
425
a tempo
( ) Cymb.
B. I
B. II
( )
* a tempo !pfljhyj@ (avec l’accent canaille)
( ) Nhtnm
z
nj
Gj
lfb
gb
hj
;jr>
Tret
ya
ta,
Pa
dai
pi
ra
zhok,
la
troi
sell’
Tend
la
Main,
siem’, Mam’
( ) F
A
a tempo Vln I
( )
( )
( )
3
( ) Timb.
( )
et
pizz.
xtn
*
( ) ( )
( )
( )
( )
d=h
nf
z
Pf;
vb
re
kf
x=r.
chet vyor
ta
ya
Zazh
mi
ku
la
chek.
tri
èm’
Mam’
sell’
Fait
le
Poing.
la
( )
qua
( )
( )
( )
( )
( )
( )
( )
( )
( )
pizz.
Vln II
( ) pizz.
Alt.
( ) pizz.
Vc.
(pizz.)
( ) * En cas que le ré grave du Cymbalum manque, remplacez-le par la Timbale.
68
68 428
( )
( )
( )
( )
( )
( )
( )
( )
( )
( )
( )
( )
( )
( )
( )
Cymb.
B. I
N/r>
n/r>
ue
Tyuk,
tyuk,
gu
Tiouc,
tiouc...
on
ctkm ws chan
,f
hf
yj
ds
cnhe
yjx rb...
N/r>
n/r...
sel
tsï
ba
ra
na
vï
stru
nach ki...
Tyuk,
tyuk...
te
doux,
un’
jo
li
e
Tiouc,
tiouc...
chan
son
pour vous...
68 à pointe d’arco arco
Vln I
( )
Vln II
( )
(pizz.)
(pizz.)
( )
Alt.
69
433
Cymb.
*
*
*
*
Timb.
B. I Rfr cnhe
yf
nj
pf
ue
kf
N/r>
n/r...
Lf
pf
ue
kf>
f
lhe
uf
z
Kak stru
na
ta
za
gu
la
Tyuk,
tyuk...
Da
za
gu
la,
a
dru
ga
ya
chan
te
ra
bout
Tiouc,
tiouc...
Pour
l’a
mour
de
vous,
on
la
Rfr cnhe
yf
nj
pf
ue
kf
Lf
pf
ue
kf>
f
lhe
uf
z
Kak stru
na
ta
za
gu
la
Da
za
gu
la,
a
dru
ga
ya
chan
te
ra
bout
Pour
l’a
mour
de
vous,
on
On
la
jusqu’ au
chant’ tout
B. II
On
la
jusqu’ au
69 Vln I
Vln II
Alt.
(sul pont.) arco
Vc.
Cb.
* Comme au-dessus: voir 63 .
la
chant’ tout
69
70 438
Cymb.
sim.
cuivrez
Timb.
G.c. sub.
sub.
B. I ghb
uj
df
hb
df
kf:
E;>
rfr
lj
vf
kb>
lf
e;>
rfr
lj
vf
kb>
lf
pri
ga
va
ri
va
la:
Uzh,
kak
do
ma
li,
da
uzh,
kak
do
ma
li,
da
la
chan
te
tout
Où
est
ell’,
que
fait
elle,
où
est
ell’,
que
fait
elle,
bas,
on
doux...
sub.
sub.
B. II ghb
uj
df
hb
df
kf:
E;>
rfr
lj
vf
kb>
lf
e;>
rfr
lj
vf
kb>
lf
pri
ga
va
ri
va
la:
Uzh,
kak
do
ma
li,
da
uzh,
kak
do
ma
li,
da
la
chan
te
tout
Où
est
ell’,
que
fait
elle,
où
est
ell’,
que
fait
elle,
bas,
on
doux...
70 pizz.
Vln I (pizz.)
Vln II (pizz.)
Alt. pizz.
arco
Vc. molto
sim.
molto
sim.
arco
Cb.
443
Cymb.
sub.
Timb.
G.c. sub.
più
B. I e;>
rfr
lj
vf
kb
kb
cf>
E;>
rfr
lj
vf
kb
kb
cf>
B
df
yjd
yf?
uzh,
kak
do
ma
li
li
sa,
Uzh, kak
do
ma
li
li
sa,
I
va
nov
na?
où
est
elle
et
que
fait
elle,
ell’,
Ma
dam’
Re
on
la
voir?
sub.
où
est
nard? Peut
più
B. II e;>
rfr
lj
vf
kb
kb
cf>
E;>
rfr
lj
vf
kb
kb
cf>
B
df
yjd
yf?
uzh,
kak
do
ma
li
li
sa,
Uzh, kak
do
ma
li
li
sa,
I
va
nov
na?
où
est
elle
et
que
fait
elle,
ell’,
Ma
dam’
Re
on
la
voir?
où
est
nard? Peut
Vln I
Vln II
Alt. pizz.
Vc. sub.
Cb. sub.
70
71 448
Poco meno mosso
= 126 con sord.
Tr. (si )
Cymb.
baguettes en bois
!Kbcf dscjdsdftn rjyxbr cdjtuj yjcf@ (Renard montre le bout de son nez)
T. I 8
Rnj
nfv
gt
cyb
gj
tn?
Kto
tam
pye
sni
pa
yot?
que
c’est
Qu’est-c’
qu’cett’ chan
son?
B. II
71 Poco meno mosso
= 126
con sord. arco
Vln I stacc. simile con sord. arco
Vln II stacc. simile
Cb.
72
452
Bn
bouché
I Cor. (fa)
bouché
II (sim.)
Tr. (si )
Cymb.
T. I 8
Lf
e;
rnj
nfv
kb
cre
pj
dtn?
Da
uzh
kto
tam
li
sku
za
vyot?
est
là
que
m’veut
on?
Qui
et
B. I B
len
I
dut
On
est
B
len
I
dut
B. II
On
72 Vln I
Vln II
Cb. en glissant le doigt
est
71
457
Bn simile
I simile
Cor. (fa) II
simile
Tr. (si )
B. I pdt
hb
yf
gz
nf[>
Yt
cen
rj
ce
yf
gkt
xf[>
zve
ri
na
pya
takh,
Nye
sut
ko
su
na
ple
chakh,
les
bell’s,
les
tout’s
bell’s,
on
est
les
bell’s
qui
t’ap
pell’nt,
B. II pdt
hb
yf
gz
nf[>
Yt
cen
rj
ce
yf
gkt
xf[>
zve
ri
na
pya
takh,
Nye
sut
ko
su
na
ple
chakh,
les
bell’s,
les
tout’s
bell’s,
on
est
les
bell’s
qui
t’ap
pell’nt,
Vln I
Vln II
molto rit. e pesante
462
Hb.
Cl. (la)
Bn
I Cor. (fa) II
Tr. (si )
B. I {j
xen
kb
csym
re
gj
ct
xb
Gj
cf
vs
z
Kho
chut
li
sïn
ku
pa
sye
chi
Pa
sa
mï
ye
et
c’qu’on
a
sous
son
man
teau,
c’est
un
grand
cou
B. II xen
kb
csym
re
gj
ct
xb
Gj
cf
vs
z
Kho
{j
chut
li
sïn
ku
pa
sye
chi
Pa
sa
mï
ye
et
c’qu’on
a
sous
son
man
teau,
c’est
un
grand
cou
molto rit. e pesante Vln I
Vln II
72
a tempo
466
73
Fl. e sempre sim.
Hb.
Cl. (la) Solo
Bn
9
ouvert
I Cor. (fa) II
Tr. (si )
Cymb.
Timb. non (avec le pouce) (à grelots)
T.d.b. !Kbcf d e;fct@ (Renard épouvanté)
T. I 8
!Pdthb vfien rjcj/@ (Les bêtes sortent le grand couteau)
F[!
ds
vj
b
ukf p=y
rb>
ukf
p=y
rb>
B
xnj
ds>
Akh!
vï
ma
i
gla zyon ki,
gla
zyon
ki,
I
shto
vï,
ma
vous,
mes
chers yeux, mes yeux
qui
êt’s
deux,
qu’a
vez
vous
fait,
Ah!
B. I gkt
xb.
ple
chi.
teau.
B. II gkt
xb.
ple
chi.
teau.
a tempo senza sord.
73
Vln I meno senza sord.
Vln II meno (pizz.)
Alt. sempre (pizz.)
arco
Vc.
pizz.
Cb.
vj
73
74
471
Fl.
Hb.
Cl. (la)
Bn
I Cor. (fa) ouvert
II
senza sord.
Tr. (si )
Cymb.
Timb. (secco)
(secco)
T.d.b.
C. cl.
T. I 8
b
vb
ks
t>
lt
kf
i
mi
lï
ye,
de
la
kb?
li?
qu’a
vez
vous
fait,
mes
yeux?
B. I Vs
cvj
nht
kb>
cvj
nht
Mï
sma
tre
li,
sma
tre
On
a
gui
gné,
gui
Vs
cvj
nht
kb>
cvj
nht
Mï
sma
tre
li,
sma
tre
On
a
gui
gné,
gui
gné,
kb>
xnj, pdt
li, chtob zve gui
gné
pour
kb>
hb
ri
qu’les
mé
xnj,
pdt
hb
li, chtob
zve
ri
qu’les
mé
B. II
74
gné,
gui
gné
pour pizz.
arco
pizz.
arco
Vln I
Vln II
(pizz.)
Alt.
Vc. arco
Cb.
arco
74
75 476
Fl.
Hb.
Cl. (la) Solo
Bn
I Cor. (fa) II
Tr. (si )
Cymb.
Timb.
(avec le pouce) (à grelots)
T.d.b.
C. cl. bag. ordinaire
Triang.
T. I 8
!Afkmwtn@ (fausset)
F[>
ds
vj
b>
yj
Akh,
vï
ma
i,
no zhun
vous
mes
pieds,
Ah!
*
si
;eym lé
B. I kb
cre
yt
c(t
!e@
lis
ku
nye
se
(u)
li.
vienn’nt
pas
t’man
ger.
kb.
chant’s bêt’s
kb.
B. II kb
cre
yt
c(t
!e@
lis
ku
nye
se
(u)
li.
vienn’nt
pas
t’man
ger.
chant’s bêt’s
75 Vln I meno
Vln II meno pizz.
(pizz.)
pizz.
arco
Alt.
Vc. come sopra pizz.
Cb.
* Gtht[jl pderf „t“ d pder „e“ dytpfgty. Pder „e“ cktletn ghjbpyjcbnm d ue,s> gjlhf;fz pdere ybprjq cnheys rjynhf,fcf. * Le passage du son „e“ au son „u“ doit être subit. Le son „u“ doit être prononcé du bout des lèvres, en imitation de la sonorité de la corde grave d’une contrabasse.
rb>
ki, gers
75
76
481
Fl.
Hb.
Cl. (la)
Bn 9
I Cor. (fa) II
Tr. (si )
Cymb.
Timb.
T.d.b. C. cl. Triang.
T. I 8
yj
;eym
rb>
b>
no
zhun
ki,
i, chto
cou
rir,
à
qu’a
xnj vez
ds>
vj
b
vb
ks
z>
lt
kf
kb?
vï,
ma
i
mi
lï
ye,
de
la
li?
vous
fait,
mes pieds, chers pieds,
pour
m’ser vir?
B. I Vs
,t
;f
kb>
,t
Mï
be zha
li,
be tant
On
a
cou
ru
Vs
,t
;f
kb>
,t
Mï
be zha
li,
be
ru
tant
B. II
On
a
cou
76 Vln I
Vln II
Alt.
Vc. arco
Cb.
76
486
Fl.
Hb.
Cl. (la)
Bn
I Cor. (fa) II
Tr. (si )
Cymb.
Timb.
(avec le pouce)
sans grelots
à grelots
T.d.b. C. cl. Triang. !Afkmwtn@ (fausset) *
B. I ;f
kb
zha
li
qu’on
a
pu,
pdt
hb
kb
cre
yt
gjh
df
!e@
kb.
chtob zve
xnj,
ri
lis
ku
nye
par
va
(u)
li.
les
mé
chant’s
bêt’
ne
t’ont
pas
et
eue.
B. II ;f
kb
xnj,
pdt
hb
kb
cre
yt
gjh
df
!e@
kb.
zha
li
chtob
zve
ri
lis
ku
nye
par
va
(u)
li.
pu,
et
les
mé
chant’s
bêt’
ne
t’ont
pas
qu’on
a
pizz.
arco
pizz.
arco
eue. 6
Vln I
6
Vln II (pizz.)
arco
pizz.
Alt. pizz.
Vc.
Cb.
* rfr dsit. * Comme auparavant.
77
77 491
Fl.
Hb.
Cl. (la)
Bn
I Cor. (fa) II
Tr. (si )
Cymb.
Timb.
T. I 8
F
ns>
A
tï
Et
toi,
vjq [djcn
ukz
moi khvost glya et
toi,
xf
hjc?
cha
ros?
queue
fri
sée?
T. II 8
Z
gj
gyzv>
gj
rec
Ya
pa
pnyam,
pa
kus
A
la
haie
ac
cro
m’suis
B. II
77 Vln I
Vln II arco 8
Alt. sim.
Vc. pizz.
Cb.
Z
gj
gyzv>
gj
rec
Ya
pa
pnyam,
pa
kus
A
la
haie
ac
cro
m’suis
78
78
496
Fl.
Hb.
Cl. (la)
Bn
I Cor. (fa) II
Tr. (si )
Cymb.
Timb.
T. I 8
Xnj,
kb
ce
pdt
hb
[df
Shtob
li
su
zve
ri
khva
et
les
bêt’s
t’ont
at
tra
nfv>
Xnj,
kb
ce
pdt
hb
[df
tam,
Shtob
li
su
zve
ri
khva
chée,
et
les
bêt’s
t’ont
at
tra
T. II 8
B. I Gj
rj
kj
lfv
pf
wtg
kzk>
Xnj,
kb
ce
pdt
hb
[df
Po
ka
lo
dam
za
tsep
lyal,
Shtob
li
su
zve
ri
khva
hé
las!
m’suis
pris’
dans
la
haie,
et
les
bêt’s
t’ont
at
tra
nfv>
Xnj,
kb
ce
pdt
hb
[df
tam,
Shtob
li
su
zve
ri
khva
chée,
et
les
bêt’s
t’ont
at
tra
B. II
78 Vln I
Vln II 8
Alt. arco
Vc. arco
Cb.
79
ritard.
501
79
Fl.
Hb.
Cl. (la)
Bn
I Cor. (fa) II
Tr. (si )
préparez les baguettes en cuir
Cymb.
Timb.
Triang.
T. I 8
nb
kb.
ti
li.
pée, Kbcf cdbhtgttn b hfpvf[bdftn [djcnjv. Jyf !1sq ntyjh@ rhbxbn [djne: „F[! ns rfyfkmz> nfr ;t nt,z pdthb tlzn!“
T. II 8
nb
kb.
ti
li.
„Akh! tï kanalya, tak zhe tyebya zveri yedyat!“
pée,
B. I nb
kb>
Lf
pf
rfv
ib
kb.
ti
li,
da
za
kam
shi
li.
t’ont
dé
chi
rée.
pée,
!Pdthb [dfnf/n kbcbq [djcn> dsdjkfrbdf/n tt cfvj/ b leifn tt.@ Renard, pris de fureur, agite la queue. Il crie en s’adressant à celle-ci (Ier ténor): „Ah! canaille, que les bêtes te mettent en morceaux!“ (Les bêtes attrapent la queue de Renard, tirent Renard hors de sa maison, et l’étranglent.)
B. II nb
kb>
Lf
pf
rfv
ib
kb.
ti
li,
da
za
kam
shi
li.
t’ont
dé
chi
rée.
pée, 8
Vln I
Vln II
Alt.
Vc.
Cb.
ritard.
79
80
80 Vivo (
= 84)
505
Fl.
Hb.
Cl. (la)
Bn
I Cor. (fa) II
Tr. (si )
Cymb.
Timb.
!J,f ntyjhf b j,f ,fcf djgzn ,kfubv vfnjv.@ Kbcf bpls[ftn. (Les deux tĂŠnors et les deux basses hurlent de toutes leurs forces.) Renard expire.
T. I 8
F
F
F
F
F
F
F
A!
A!
A!
A!
A!
A!
A!
F
F
F
F
F
F
F
A!
A!
A!
A!
A!
A!
A!
F
F
F
F
F
F
F
A!
A!
A!
A!
A!
A!
A!
F
F
F
F
F
F
F
A!
A!
A!
A!
A!
A!
A!
T. II 8
B. I
B. II
80 Vivo ( Vln I
Vln II
Alt.
Vc.
Cb.
= 84)
81
81 Allegro (
= 126)
512
Bn
Cymb.
Timb. secco
meno
!Gtne[> rjn lf ,fhfy gkzien@ (Le coq, le chat et le bouc se mettent à danser)
T. I 8
F
nb
A
ti
qui n’peut
T. II 8
Z
,j
z kfcm nb
ge yf>
Ya ba
ya las ti pu na,
C’est que
j’ai mon p’tit com merc’,
B. I Kb
csym
rf>
kb
cb
wf!
Ukz
xf
ljk
uj
yt
;b
kf?
Li
sïn
ka,
li
si
tsa!
Glya
cha
dol
go
nye
zhi
la?
Mèr’
Re
nard,
mèr’
Re
nard,
pour
quoi
nous
quit
ter
dé
jà?
81 Allegro (
= 126)
Vc.
pizz.
*
pizz.
arco
Cb. sempre sim.
82
517
3
Cymb.
Timb.
T. I 8
gey
nj
pun
ta
pas
s’pas
yt
celm
z>
nye sudz ya, ser
de
moi.
Kf
ls
ub
ys
lt
La
dï
gi
nï
dye
ti
ell’
tap’
sur
son
ma
t’las,
B. I F
celm
z
nj
kf
ls
uf.
A
sudz
ya
ta
la
dï
ga.
Jean
Lou
is
tap’
sur
sa
femm’,
82
pizz.
Vln I
Vln II
Alt.
Vc.
arco
pizz.
Cb.
* Ces notes mises entre parenthèses se jouent seulement au cas où le Cymbalum ne possède pas le ré grave.
arco
nb
82
520
Fl.
=
=
Hb.
=
=
Cl. (la)
=
= 3
Bn
=
=
I
=
=
II
=
=
Tr. (si )
=
=
Cor. (fa)
3
près du chevalet
3
=
=
=
=
=
=
=
=
Cymb.
Timb.
T. I 8
[j
nzn
e
kt
nt
nb>
Pf
B
df
yjd
uj
kho
tyat
u
lye
tye
ti,
Za
I
va
nof
go
ils
crient,
les
chiens
boient,
Ils
ont
dit
à
Re
a
=
T. II
=
8
[j
nzn
e
kt
nt
kho
tyat
u
lye
tye
nb.
ti.
leurs
en
fants
sont
au
bois.
=
B. I
= [j
nzn
e
kt
nt
kho
tyat
u
lye
tye
nb.
ti.
leurs
en
fants
sont
au
bois.
=
B. II
= [j
nzn
e
kt
nt
nb.
Pf
B
df
yjd
uj
kho
tyat
u
lye
tye
ti.
Za
I
va
nof
go
leurs
en
fants
sont
au
bois.
Ils
ont
dit
à
Re
Vln I
=
=
Vln II
=
=
Alt.
=
= pizz.
sempre sim.
=
Vc.
pizz.
sempre sim.
Cb.
=
=
=
83 3
3
3
3
83
523
Fl.
=
Hb.
=
Cl. (la)
=
Bn
=
I
= poco
Cor. (fa)
=
II
poco
=
Tr. (si )
poco
= Cymb.
=
=
Timb.
=
T. I 8
hjl.
Lf
yf...
rod.
Da
na...
nard:
t’au
ras...
=
T. II 8
J
yb
Lf
yf...
A
ni
Da
na...
t’au
ras...
„Eh,...
B. I
B. II
= J
yb
gj
uhf
A
ni
pa
gra mot kye
„Eh,
Re
nard, vien
vjn dras
rt tu
gb
ien>
Lf
yf
kb
cb
we
ls
ien.
Kb
csym
rf>
pi
shut,
Da
na
li
si
tsu
dï
shut.
Li
sïn
ka,
li
t’au
ras
du
cho
co
Re
nard
a
dit:
pas?
lat“...
= hjl.
Lf
yf...
rod.
Da
na...
nard:
t’au
ras...
83 Vln I
=
Vln II
=
Alt.
= arco
Vc.
=
Cb.
=
arco
kb
84
526
Bn
Cymb.
Timb. B. I cb
wf
Gj
lb
gj
dj
lb
we.
Yf
lj
hj
ut
djk
rb
si
tsa
Po
di
pa
va
di
tsu.
Na
da
ro
gye
vol
ki
„Ça
va.“
Sur
la
plac’
du
vil
lage,
les
loups
bat
taient
les
pois;
Vc.
pizz.
pizz.
arco
arco
Cb.
84
531
Fl.
Hb.
Cl. (la)
Bn
I Cor. (fa) II
Tr. (si )
Cymb.
Timb. Cym. G.c. Triang.
B. I Uj
hj[
vj
kj
nb
kb.
Kbc
rb
ys
ht
,z
nf
Kbc
rt
nj
crf
Go
rokh
ma
la
ti
li.
Lis
ki
nï
rye
bya
ta
Lis
kye
ta
ska
Re
nard
se
dé
rang’
pas.
Re
nard
est
sur
le
poêl’:
Gar’,
Re
nard,
les
arco
84
Vln I meno pizz.
Vln II meno pizz.
Alt.
Vc. pizz.
Cb.
arco
85
85
535
Fl.
Bn 3
Cymb.
Timb.
T. I 8
C=v(>
c=v(>
c=v(>
gt ht
Syom, syom, syom,
pe re
Zoum!
pa
zoum!
zoum!
T. II 8
B. I pf
kb>
Kb
csym
rf
nj
c gt
xb
j,
kj
vf
kf
gkt
xb.
za
li,
Li
sïn
ka
ta
s pe chi
ab
la
ma
la
ple
chi.
voi
là!“
a
sau
té
par
terr’,
s’est
cas
sé
le
bras...
Il
il
85 Vln I arco
Vln II arco
Alt.
Vc.
pizz.
arco
Cb.
539
Cymb.
Timb.
T. I 8
c=v>
gt
ht c=v>
yf
kj
gfn
syom,
pe
re syom,
na
la
pat kye
rt
zoum
pa
ta zoum,
c’est tant
mieux pour
bc
gt
is
pe chon.
xty.
les poul’s.
C=v>
c=v>
Syom,
syom,
Zoum!
zoum!
T. II 8
B. I
Et
Ve
;br
gtc
y/
cgt
!t@k...
Mu
zhik
pes
nyu
spe
(e)l...
c’est
ain
si
qu’on
di
(i)t...
Vln I
Vln II stacc.
Alt. stacc.
pizz.
arco
Vc. pizz.
Cb.
ta
86 3
3
86
543
Fl. 3
3
Cymb.
Timb.
T. I 8
c=v>
gt
ht
C=v>
c=v>
c=v>
gt
ht c=v>
gt
ht
syom,
pe
re syom,
ctv>
Syom,
syom,
syom,
pe
re syom,
pe
re
zoum!
pa
ta zoum!
Zoum,
zoum,
zoum,
pa
ta zoum!
pa
ta
T. II 8
B. I Yf
rf
gecn
ybr
ct
!t@k
Na
ka
pus
nik
se
(e)l
que
l’hi
stoir’
fi
nit.
86 Vln I
Vln II
Alt. pizz.
arco
Vc. arco
pizz.
(arco)
arco
Cb.
3
3
546
=
Fl. 3
3
= Cymb.
= =
T. I 8
c=v>
gt
ht
gt
ht
Nhb rjc
nhf
gb
hj
syom,
pe
re syom,
c=v>
pe
re syom,
Tri kas
tra
pi
ra gof,
zoum!
pa
ta
pa
ta
Où c’qu’y au
ra
zoum!
c=v> zoum!
d’quoi man
ujd> ger,
=
T. II 8
c=v>
gt
ht
gt
ht
syom,
pe
re syom,
c=v>
pe
re syom,
zoum!
pa
ta
pa
ta
zoum!
c=v> zoum!
C(tk nhb
rj
hj
,f
,kb yjd>
Pf
Syel tri
ko
ra
ba
bli nof,
Za
sent
on
va
al
A
pré
ler,
et
Vln I
=
Vln II
=
Alt.
=
Vc.
=
Cb.
=
87 3
3
549
=
Fl.
= 3
3
=
=
=
=
=
=
Cymb.
T. I 8
On
Pf
[jl
rf
kf
xtq>
Vf
rby
yb
we
c ce
kj
/>
Za
khod
ka
la
chey,
Ma
kin
ni
tsu
s su
lo
yu,
i
ra,
où
c’qu’y au
ra
des
beaux
bei
gnets
à
=
T. II
l’huil’ d’noix,
=
8
e
kjr
hj
ue
ktr>
Vf
rby
yb
we
c ce
kj
/>
u
lok
ro
gu
lyok,
Ma
kin
ni
tsu
s su
lo
yu,
où
c’qu’y au
ra
d’quoi
boir’!
des
beaux
bei
gnets
à
Vln I
=
=
Vln II
=
=
Alt.
=
=
Vc.
=
=
Cb.
=
= 3
l’huil’ d’noix,
3
87
552
=
Fl. 3
3
= Cymb.
= =
Timb.
=
T. I 8
J
dby
rb
ct
kz>
Gj
df
hty
A
vin
ki
se
lya,
Po
va
ren ku shchey.
et
puis plein
un
ton
neau
d’bon vin
re
otq.
nou veau.
=
T. II 8
=
B. I
B. II
J
dby
rb
ct
kz>
Gj
df
hty
A
vin
ki
se
lya,
Po
va
ren ku shchey.
et
puis plein
un
ton
neau
d’bon vin
re
otq.
Ujc
gj
lb
gj
vb
keq>
Yf
Gos
po
di
pa
mi
lui,
Na
Sei
gneur,
par
don
nez
nous!
Sur
nou veau.
= 87
Vln I
=
Vln II
=
Alt.
=
Vc.
= pizz.
Cb.
=
88
556
Fl.
Hb.
Cl. (la)
Bn
I Cor. (fa) II
Tr. (si )
Cymb.
Timb.
Cym.
G.c.
Triang.
B. I rj
yb
rt
Lf
yb
kj
Yf
kfd
rt
Akjh>
Yf
gt
xb
ghb
uj
djh.
ko
ni
kye
Da
ni
la
Na
laf
kye
Flor,
Na
pe
chi
pri
ga
vor.
sa
bête
est
Jean
Ba
doux,
sur
têt’,
dans
sa
têt’
rien
du
tout;
l’homm’ sa
Vln I
pizz.
Vln II
pizz.
Alt.
Vc. arco
Cb.
pizz.
arco
89
561
88
Fl.
Hb.
Cl. (la)
Bn
I Cor. (fa) II
Tr. (si )
Cymb.
Timb.
Cym.
G.c.
Triang.
T. I 8
D gt
xb
rf
kf
xb>
Rfr
j
ujym
uj
hz
xb.
F pe
chi
ka
la
chi,
Kak
a
gon
ga
rya
chi.
et
voi
là
qu’il
pleut,
on
a
fait
un
bon
feu
T. II 8
D gt
xb
rf
kf
xb>
Rfr
j
ujym
uj
hz
xb.
F pe
chi
ka
la
chi,
Kak
a
gon
ga
rya
chi.
et
voi
là
qu’il
pleut,
on
a
fait
un
bon
feu
B. I
88 Vln I
Vln II
Alt.
Vc.
Cb.
D gt
xb
rf
kf
xb>
Rfr
j
ujym
uj
hz
xb.
Ghj
,j
zh
gt
xt
F pe
chi
ka
la
chi,
Kak
a
gon
ga
rya
chi.
Pra
bo
yar
pye
che
et
voi
là
qu’il
pleut,
on
a
fait
un
bon
feu
en
l’hon
neur
d’nos
mes
90
566
89
Fl.
Hb.
Cl. (la)
Bn
I Cor. (fa) II Tr. (si ) = Tr. (la)
Tr. (si )
Cymb.
Timb.
Cym. G.c. Triang.
T. I 8
Yf
t
[f
kb
,j
z
ht
lf
cj
,fr
yf
dtp
Na
ye
kha
li
ba
ya
rye
da
sa
bak
na
vez
kb>
li,
nos
mes
sieurs
sont
ar
ri
vés,
leurs
chiens
ont
fait
cou
cher,
kb>
T. II 8
Yf
t
[f
kb
,j
z
ht
lf
cj
,fr
yf
dtp
Na
ye
kha
li
ba
ya
rye
da
sa
bak
na
vez
li,
nos
mes
sieurs
sont
ar
ri
vés,
leurs
chiens
ont
fait
cou
cher,
B. I ys.
Yf
t
[f
kb
,j
z
ht
lf
cj
,fr
yf
dtp
kb>
Cj
,f
rb
nj
nï.
Na
ye
kha
li
ba
ya
rye
da
sa
bak
na
vez
li,
Sa
ba
ki
ta (vz)du
dple
sieurs:
nos
mes
sieurs
sont
ar
ri
vés,
leurs
chiens
ont
fait
cou
cher,
leurs
chiens
se
sont
fâ
dple
B. II
89 Vln I
Vln II
Alt.
Vc.
Cb.
Yf
t
[f
kb
,j
z
ht
lf
cj
,fr
yf
dtp
kb>
Cj
,f
rb
nj
Na
ye
kha
li
ba
ya
rye
da
sa
bak
na
vez
li,
Sa
ba
ki
ta (vz)du
nos
mes
sieurs
sont
ar
ri
vés,
leurs
chiens
ont
fait
cou
cher,
leurs
chiens
se
sont
fâ
91
90
570
Fl.
Hb.
Cl. (la)
Bn
I Cor. (fa) II
Tr. (si )
Cymb.
(gliss. pour la Timb. à levier)
Timb.
Cym. G.c. Triang. !ujdjhjv@ (parlé)
3
3
3
T. I 3
8
Djn
dfv
crfp
Vot
vam
skaz ka!
a mnye krin ka mas la.
stoir’ vous
a
Et
si
l’hi
!ujdjhjv@ (parlé)
rf!
f
vyt rhby rf
vfc
kf.
plu, pay-ez moi c’qui m’est
dû.
3
T. II 8
Djn
dfv
crfp
Vot
vam
skaz ka!
rf!
!ujdjhjv@ (parlé) 3
B. I hb
kb
Lf
kbc
re
e
re
cb
kb.
Djn
dfv
crfp
ri
li
Da
lis
ku
u
ku
si
li.
Vot
vam
skaz ka!
Re
nard
a
em
po
ché.
chés,
rf!
!ujdjhjv@ (parlé) 3
B. II hb
kb
Lf
kbc
re
e
re
cb
kb.
Djn
dfv
crfp
ri
li
Da
lis
ku
u
ku
si
li.
Vot
vam
skaz ka!
Re
nard
a
em
po
ché.
chés,
pizz.
3
rf!
90
Vln I arco salt.
3
Vln II arco
salt.
Alt. 3
gliss.
Vc. pizz.
arco
gliss.
Cb.
Enchaîner
92
MARCHE aux sons de laquelle les acteurs quittent la scène
ITCNDBT gjl pderb rjnjhjuj frnths gjrblf/n cwtye
1
I
= 152
Bn
3
sempre
e marcatissimo
I Cor. (fa) II
3
3
Tr. (la)
Cym.
G.c.
II
8
Bn 3
I Cor. (fa) II
3
3
Tr. (la)
Cym.
G.c.
15
Bn
I Cor. (fa) II
Tr. (la)
secco
Cym.
G.c. Morges, 1916