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Thèse de doctorat/ PhD Thesis Citation APA:

Truman, P. A. (1981). Stravinsky's approach to opera (Unpublished doctoral dissertation). Université libre de Bruxelles, Faculté de Philosophie et Lettres, Bruxelles.

Disponible à / Available at permalink : https://dipot.ulb.ac.be/dspace/bitstream/2013/213948/6/09e87748-4487-46d9-a925-2c6095728c11.txt

(English version below)

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Université Libre de Bruxelles Faculté; Philosophie et Lettres

Philip A, Truman

STRAYIÎTSKY’S APPFOACH TO OPSRA

Volume .Six

Dissertation présentée à

l’Université libre de Bruxelles pour l'obtention du grade de Docteur en Philosophie et Lettres

Section; Histoire de l’Art et Archéologie Sous-section: Musicologie

Directeur de thèse;

Monsieur lè Professeur Robert ïïangerrr,

« 1981

(3)

Université Libre de Bruxelles

Bruxelles,

Pacultê: Philosophie et Lettres

Philip A. Truman

STRAVINSKY’S APPROACH TO OPER^.

Volume Six

Dissertation présentée à

l'Université Libre de Bruxelles pour l'obtention du grade de Docteur en Philosophie et Lettres

Section: Histoire de l'Art et Archéologie Sous-section: Musicologie

1981 Directeur de thèse:

Monsieur le Professeur Robert ïïangermée

G7G.54B

(4)

MUSICAL EXàMPLES

Because, in certain cases, the process of photo-copying bas produced poor résulta, a number of the following examples appear in duplicate - either, the second example is inserted between pages, or, it is affixed to the opposite page.

(5)

Ex. 1. llussorgsky: ’Death's Lullaby' (closing bars).

Ex. 2. The Rake’s Progress (I^) - 'Brothel' chorus.

Ex. 3. (i) Agon (ii) The Plood

correspondences between the opening ;tetrachords.

Ex. 4. The Wedding (I) - first tableau ('Tresses')* b,1-3.

Ex. 5. The Wedding (II) - fourth tableau ('The Wedding.Peast').

closing bars.

Ex. 6. The Rake's Progress (I^) - Duet: 'The woods are green'.

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7b. Three Pièces for String Quartet (1914) - No. 1.

7c. Symphony in C - fourth movement (1940).

7d. Perséphone (I) - Chorus: 'Ivresse matinale',

7e, Perséphone (II) - Chorus: 'Sur ce lit elle repose',

7f. Perséphone (I) - Aria (Eumolpus):

'Persephone, un peuple t'attends',

7g. The Rite of Spring (I) - Introduction, b. 1-3,

7h, The Rite of Spring (I) - 'Dances of the Young Girls

7i, The Rite of Spring (II) - 'Rituai Action of the Anoestors'.

7j. Oedipus Rex (II) - Arietta (Oedipus):

'Ego senem kekidi'.

8a, The V/edding (I) - third tableau ('The Bride's

Departure').

7a, The Nightingale (I) - Pisherman's Song.

8b, The Rake's Progress (d^) ~ Duet: 'The woods are green',

(8)

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Ex. 9. Petrushka (III) - Waltz (the Ballerina and the Moor)

Ex. 10. The Nightingale (III)

Ex. Tl. The Nightingale (I)

Ex. 12. Renard - ’Guzla’ music.

Ex.. 13. The Soldier’s Taie (II) - 'The Royal March', b. 1-4.

Ex.- 14. llaTra - Hussar's first aria.

(10)

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Ex. 15a. The Rake’s Progress (II3) - 'Pantomime’

Ex. 15b. The Rake’s Progress ’Erothel' chorus.

Ex.. 1 5c. The Rake's Progress (II3) - Baba*s ’patter' aria.

Ex. 15d.. The Rake’s Progress (II3) - Baba’s ’Song’.

Ex. 16. The Plood - ’The Coraedy', b. 391-394.

Ex. 17a. Song for St. John’s Eve - see Petrushka (I), fig.41

Ex. 17b. Song of the Volochebniki (Easter Song) - see Petrushka (I), figs.2 and 3, and

(lY), 2 bars after fig. 123.

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Ex. 18a. The V/edding (II) - fourth tableau (’V/edding Peast')»

Ex. 18b. The Wedding (II) - fourth tableau.

Ex. 19. Renard - opening vocal number (b. 1-7).

Ex. 20a. The Soldier's Taie (II) - ’Little Concert'.

Ex. 20b. The Soldier's Taie (II) - 'Dies irae' from

'Little Concert'.

Ex. 21a. Mavra - Overture.

Ex. 21b. Mavra - Parasha's opening aria.

Ex. 22a. Oedipus Eex (I) b. 1-3.

Ex. 22b. Oedipus Rex (I) - 'Gloria' chorus.

Ex. 22c. Oedipus Rex (I):

minor 3rd: ('fate') ostinato

Ex. 22d.' Oedipus Rex (II):.

minor 3rd ostinato

Ex. 22e. Oedipus Rex (II):

'fateful' minor 3rûs and 'ominous' ascending scales in Messenger's aria, 'Divum ’Jocastae'.

(14)

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Ex. 23a. Persephone (III) - orchestral introduction (violin parts) to chorus:

'L'ombre encore'.

Ex. 23h. Perséphone (II) - Chorus: 'Parle nous, parle nous, Persephone'.

Ex. 23c. Perséphone (I) - Aria (Eumolpus):

'Deesse aux mille noms' (b. 1-7).

Ex. 23d.

Ex. 23e.

Persephone (I) - Chorus:

Persé’phone (II) - Chorus:

'Reste avec nous'.

'Si tu contemplais le calice' Ex. 23f. Persephone (TII) - from Aria (Eumolpus):

'C'est ainsi nous raconte Homère

Ex. 23g. Persephone (III) - ostinato and pedal accompaniment to Recitation (Persephone):

'lïlere, ta Persephone '.

Ex. 24a. The Rake's Progress (II_) - from Duet (Tom and , Shadow): ■

'Thanks to this

excellent device'.

Ex. 24b. The Rake's Progress

(II^)

- from Duet: 'Thanks to this excellent device'.

Ex. 24c. The Rake's Progress (III.) - from Duet (Anne and Baba): 'You love him

still'.

(16)

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24d. The Rake's Progress (III.) - Finale: Mourning Chorus.

25a. SeptetGigue’.

(eight-note 'row')

Ex. 25c. Three Songs from ïïillian Shakespeare No. 1, 'Kusick to

heare’

25h. Three Songs from ïïillian Shakespeare - No. 1: ’Musick to heare' - four-note 'row'.

25Ô.. Agon: Second Pas-de-Trois, 'Bransle Simple'.

26a. Threni: 'De Elegia Prima'(b. 35-40).

26b. Threni: 'De Elegia Prima' (b. 42-45).

26c. Threni: 'De Elegia Prima' (b. 5-11).

26d. Threni: 'De Elegia Quinta' (b. 416-419).

Ex. 27 The Wedding (I) first tableau ('Tresses').

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Ex. 28. S^T^phonies of Wind Instruments (closing bars).

Ex. 29. The Plood - Chorus: 'Te Deum’ (b. 8-15).

Ex. 30. Cantata: 'Ricercare II'.

Ex. 31a. Purcell: 'My heart is inditing'.

Ex. 31b. Gesualdo;

'îJoro Lasso'.

Ex. 32. J.S.-Bach: Fugue in B rainor from

'Das wohltemperierte Klavier' (Book I), b. 70-72.

Ex. 33a. Song of the Don Cossacks (quoted by Kastalsky).

Ex. 33b. Russian folk song (quoted by Kastalsky).

Ex.' 34. Ukraine melody (Kastalsky).

Sx. 35. Russian Song (Kastalsky).

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Ex, 36. Russian Song (Kastalsky).

Ex.

Ex.

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Ex.

Ex.

Ex.

Ex.

37. Hypothetical scale incorporating 'interférences’

encountered in the ’basic' ’najor' and 'miner' scales of Russian folk music.

38a. lilussorgsky: Boris Godimov (I^) - Varlaam's Song.

38b. Boris Godunov (original version): Introduction to Act II.

38c. Boris Godunov (III^) - from 'Polonaise'.

39a. The Wedding (I) - Ex.- 39h, The Wedding first tableau (b. 1-3). second tableau 39c. The Wedding (I) - Ex. 39d. The Wedding

third tableau. second tableau

39e. The Soldier's Taie (II) - 'Little Choral'.

39f. Renard (b. 236-238).

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39h. The Nightingale (II) - tonal interférences

within a pentatonic idioic.

(22)

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Ex. 40a. Hamionization of Russian folk song (from

Palchikov's Collection).

Ex. 40b. The same melody as harmonized by Glinka in

’Kamarinskaya•.

Ex. 41a. Harnonization of Russian folk song (from Melgunov*s Collection).

Ex. 41b. The same melody as harmonized by Mussorgsky in 'Khovantschina*.

Ex. 42a. Harmonization of Russian folk song (from Melgunov's Collection).

Ex. 42b. Harmonization of the same melody in

Lyadov's Collection of 35 Russian folk songs.

Ex. 43a. ’Song of the Volochebniki* as harmonized by Stravinsky in ’Petrushka* (fourth tableau).

Ex. 43b,. ’Song of the Volochebniki' as harmonized by Rimsky-Korsakov.in his Collection of 100

Russian Folk Songs.

Sx. 44. The V/edding (I) - second tableau.

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Ezs. 45a, b and c; freedom of harmonie movement in

Ex. 4ôa. Mavra - Overture. Ex. 46b.

The Nightingale (II)

Exs. 47a and b. Dissonance in Russian folk harmony.

Ex. 48a.- Glinka; Ruslan and Ludmilla Ex. 48b.

The Pirebird -

Préludé and Dance of the Pirebird:

from The Pirebird Suite (1919 version) Ex. 49. Glinka: Ruslan and Ludmilla: 'Lesginka'.

Ex. 50 The Soldier’s Taie (I): ’Soldier’s liarch’

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Ex. 51a. Rimsky-Korsakov: Le Coq d'Or (Suite) - second movement (b. 7-10).

Ex. 51b. The Eirebird (Suite - 1919) - Introduction (b. 7-8).

Ex. 52a. Le Coq d’Or - first movement (b. 14-19).

Ex. 52b. The Pirebird (Suite - 1919) -

Transition between Berceuse and Finale.

Ex. 53a. Le Coq d'Or -first movement (b. 70-73).

Ex. 53b. .The Pirebird (Suite - 1919) - 'Dance of the Princesses' .

Ex. 54a. Le Coq d'Or - first movement (b. 131-184) Ex. 54b. The Pirebird (Suite - 1919)

'Dance of the Princesses'

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Ex. 55a. Rimsky-Korsakov: Le Coq d'Or (Suite) - fourth movement (b. 158-162).

Ex. 55b. The Firebird (Suite - 1919) - 'Infernal Dance'.

Ex. 56a. The Firebird (Suite -1919) - Pas de Deux.

Ex. 56b. V/agner: Parsifal - Flower Kaidens' Song

(Act II).

Ex. 57. Mussorgsky: Boris Godunov (Act I) -

Introductory chorus: 'Wilt thou forsake us'

Ex. 58. Hussorgsky: Pictures from an Exhibition - 'Promenade'.

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'His fate shall be the same'.

Ex. 59. Kussorgsky: Boris Godunov (IV^) - Chorus:

Ex. 60. Boris Godunov (IV^): (Idiot) 'Kay it is a

crying shame'.

Ex. 6la. The Rite of Spring (II): 'Rituai Action of the Ancestors'.

Ex. 6lb. Debussy: 'Nuages' from Nocturnes.

Ex. 62a. The Nightingale (I) Introduction

Ex. 62b. The Nightingale:

(III) 'Cortège Solennel

Ex. 62c. Renard (b.236-238)-

Ex. ô2d. The Soldier's Taie:

'Little Concert'.

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Ex. 63. Hussorgsky: ’Sunless' song cycle.

Ex. 64 (i) and (ii) Zvezdoliki (King ofthe Stars).

Ex. 65a. Orpheüs: ’Air de Danse* Ex. 65b. Oedipus Rex (I) Chorus: Oedipus adest

pestis.

Ex, 65c. The Rake’s Progress Introduction to Tom's aria, ’Vary the song*.

Ex., 65d. The Pake*s Progress (II ) - from Duet (Tom and Anne).

Ex. 65e. The Rake’s Progress (III_^) - Stretto-Pinale, Sx. 65f. Apollon Musagète:

Ex. 66.. Serenade in A.

Pas de Deux.

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Ex. 67. The Rake's Progress (I2): Tom's ’Cavatina' - 'Love, too frequently betrayed*.

Ex. 68a. Zvezdoliki (opening bars)

Sx. 68b. Rite of Spring (I) Introduction

Ex. 68d. Scènes de Ballet

Ex. 68c. The Rake's Progress (I^) - Brothel chorus.

Ex. 68e. Symphony in Three Ii-ovements -

second moveaent (b. r-2).

Ex. 68f. Symphony in Three Eovements - third moveinent (b. 1-4).

Ex. 68g. The Rake’s Progress (II2) 'Finale'

Ex. 68h.■The Rake * s Progress - 2 bars before

fig. 8).

Ex. 68i. Concerto in D ('Basle' Concerto).

Ex. 69. The Rake's Progress - Anne's aria:

'Quietly night'.

Ex; 70a.. .The Rake's Progress (IIi.,)-I)uettino: 'Every - wearied body' Ex. 70b. Serenade in A.

Ex.. 71a; .The Rake' s Progress (111^) Ex. 71b. Sonata

'Finale' for tv/o pianos.

(36)

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Ex. 71c. Persephone (II)

closing bars of Chorus and Recitation:

'Parle nous du printemps'.

Ex. 72a. . The Rake.'s Progress (II^) - closing bars of 'Finale'.

Ex. 72b. The Rake's Progress (III^) - Préludé.

Ex. 72c. Mass: 'Agnus Dei'.

Ex. 73a. Beethoven: Symphony.no. 3 ('Eroica') - first movement.

Ex. 73ti. Chopin: Ballade no. 1 (b. 1-9).

Ex. 73c. Mussorgsky: Boris Godunov (I^)*

'Ex. 73d. Rimsky-Korsakov:

■ . ' 'Scheheraaade'.

Ex. 74 (i). and (ii) - the 'Petrushka chord'.

Ex. 75a. Szymanowski: String quartet, op.37 - third movement,

. Milhaud: No. 4- of

Cinq Symphonies (Finale).

Ex. 75b

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905

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Ex. 7oa. Petrushka - second tableau

Ex. 76b. Liszt:

Todtentanz.

Ex. 77. The Rite of Spring (I) - 'Dance of the Young Girls'.

Ex. 78a. The Rake.'s Progress (l2^ ~ opening bars.

Ex. 78b. . Oedipus Rex (I) - b.'4-6.

Ex. 79. . The Rake's Progress (II^) - Finale.

Ex. 80. The Rite of Spring (II) - Mystic Circles of the Young Girls.

Ex. 81. Petrushka (IV) - closing bars.

Ex. 82a. The Rake’s Progress (III^) - Duet (beginning of.

card game).

Ex. 82b. The Rake’s Progress' (III^) - Duet (card game).

Ex. 82c. The.Rake's Progress (III^) card game.

Ex. 83a. The Rite of Spring 'Dance of the Sarth'

(4 bars before fig. 73).

(I): Ex. 83c.' The Rite of Spring (I) 'Dance of the Earth'

(closing bars) Ex. 83b. The different tonal planes

employed in Ex. 83a.

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Sx. 64 The Rake's Progress Arioso ('I hâve waited') to Duet (’ln a foolish dream').

Ex. 85. Symphonies of ïïind Instruments.

Ex. 86a. The Hake's Progress Duettino (Anne and

’ir. Truelove).

Ex.. 86b.

The Rake's Progress : Duettino

Ex. 86c. The Rake's Progress : Duettino (closing bars)

Ex. 87a. Apollon Musagete:

'Apollo's Birth'

(2 bars before fig.6).

Ex. 87b.

Apollon Kusagète: 'Coda'

Ex. 88. The. Rite of Spring (I): 'Dances of . the Young Girls'

Ex. 89a. The Nightingale (II): Ex. 89b (i) Renard (b.236-238) (2 bars after fig.68). (ii) Chain of fifths

in Ex. (i).

Ex. 90a. Canticum Sacrum. Ex.- 90b. Three Pièces for String Quartet - ITo. 1.

Ex. 90c. 7/ebern: Sx. 91a. The Elood (b. 1-3).

Bagatelle, op.9 no.5-

Ex. 91b. The Flood: Chorus, 'Te Deum' (b.8-19).

(42)

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Ex. 92a. Kavra Ex. 92b. Pulcinella (Suite) 'Finale'

Ex. 92c.

Oedipus Rex (I):

Shepherd' s aria.

Ex. 92d. Perséphone (II). Ex. 92e. Renard.

Ex. 92g. Renard (b, 91-94).

Ex. 92f. Renard.

(b.315-6)

Ex. 93a. Petrushka:

fourth tableau.

Sx. 93b. The Soldier’s Taie (I):

'Soldier's March'.

Ex. 94a. Petrushka (I) - 6 bars after fig.5.

Ex. 94b. Orpheus (opening bars).

Ex. -94c. Petrushka (I).

Ex. 94d. Renard (b.7-17).

Ex. 94e. The Soldier's Taie (II): 'Little Concert'.

Sx. 95a. Orpheus: 'Dance of the Angel of Death* (2 bars after fig.30).

Ex. 95b. Petrushka (I).

Ex. 95c. The Rite of Spring (II): 'Saçrificial Dance'.

Ex. 95d. Renard: Tntroductory .'liarch'.

Ex. 95e. Oedipus Rex (II):.Àîessenger’s aria.

(44)

908

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(45)

Ex. 96a. The Nightingale (II) - ’Chinese March'.

Ex. 96b. The Nightingale (II) - ’Ghinese iïlarch’.

Ex. 97a. The Nightingale (I). - Introduction.

Ex. 97b. The Nightingale (I) - ?isherman*s Song

■Mossoioff; String Quartet, op.24.

Ex. 98.

(46)

909

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(47)

'Ragtime':

Exs. 99a-d. The Soldier’s Taie (II) -

rhythraic, metricai and harmonie variants oT an ostinato.

Ex. lüOa. Pulcinella: Stravinsky's harmonization of

• Se tu m’ami’.

Ex. 100b. Pergolesi's harmonization of ’Se tu m’ami’.

Ex. 101. Agon: Double Pas de Quatre (b. 1-3).

Ex.. 102. The Plood: 'The Plood' movement (b. 405-407).

Sx. 103b. ■ Debussy:

’Soirée dans Grenade' (from 'Estampes').

Ex. 104b. The Pirebird:

'Pinale'.

Sx. 105a. The Rite of Spring.(II): Ex. 105b. Orpheus (III):

■'ilystic Circles of Young Girls' 'Orpheus'-Apotheosis' (b. 6-8). . (closing bars).

Ex. 105c. Orpheus (III) - b.5-9 Ex. 103a.. Debussy:

'Ce qu'a vu le vent d'Cuest' (from 'Préludes' - Eook I).

Ex. 104a. Zvezdoliki (King of the Stars)

(48)

910

(49)

Ex. 106. Oedipus. Rex (II) - Oedipus’ * Confession’:

’Katus SUD quo nefastum est'.

Ex, 107. Ralph Vaughan Williajns; froD No. 5 of Pive Mystical Songs.

Ex. 108. Bartok: Divertimento for String Orchestra (I).

Ex. 109. Prokofiev: Peter and the Wolf.

Ex. 110a. Pers^phone (III) - from Recitation (Perséphone):

■'Mère, ta Perséphone'.

Ex. 110b. Two Mélodies: No.1 - 'Chanson de printemps' ('La Novice').

Ex. 111. Danses Concertantes (II): Pas d'Action (arr. for 2 pianos)

Ex. 112a, The Rake's Progress (II^): Ex. 112b. The Rake's dLosing bars of Tom's aria -

'Vary the song'

Progress (II^) (cf.closing bars of (;c ^

Ex.bbc;

(50)

911

(51)

Ex, 113a. Petrushka (IV): Dance of the Coachnen and

Stable Boys (figs.114-115)

Ex. 113b. The Rite of Spring (I) - Introduction (3 bars before fig.9).

Ex. 113c. The Wedding (II) - fourth tableau (4 bars after fig.92).

Ex. 113d. Piano Sonata.

Ex. Î14a. Rimsky-Korsakov: Ex. 114b. Rimsky-Korsakov;

Scheherazade. Scheherazade

Ex. 115a. Petrushka (I):

The Shrove-Tide Pair.

Ex. 115b. The Rite of Spring (I) - Spring Roiinds

(5 bars before fig.54).

Ex. 1l6a. The Soldier's Taie (II): 'Great Choral*.

(52)

912

Ex.//(,*.

,^D2â.

(53)

Ex. 1l6b. The Soldier's Taie (II): ’Great Choral' (last two phrases).

Ex. 117a. Sjnnphony of Psalms - second movement.

Ex. 117b. Symphony of Psalms - second movement.

Ex. 118. Mass

Ex. 119a. Perséphone (II) - from Aria (Eumolpus):

'Perséphone confuse'.

Ex. 119b. Perséphone (II) - from Chorus:

'Sur ce lit elle repose'

(54)

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(55)

Ex. 120. Orpheus: Pas d’Action ('Bacchantes' Dance').

Ex. 121a. The Rake's Progress (II^) - Introduction to Tom's aria: ’Vary the song'.

Ex. 121b. The Rake's Progress (II^) - Aria (Tom):

'Vary the song'.

Sx. 122. The Rake's Progress ” Aria (Anne):

’Quietly night'.

Ex. 123a. The Rake’s Progress (I^) - Aria (Tom):

’Since it is not by merit

Ex. 123b. The Rake's Progress ~ Aria:

'Since it is not bj^ merit

Ex. 124. The Plood - 'Sanctus' (b. 531-537).

Ex. 125. The Plood - ' God's -V/ord.' (b. 85-92).

(56)

914

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(57)

Ex. 126a. No. 72 ofRimsky-Korsakov's Collection of 100 Polk Songs

Ex. 126b. 'Song for St. John's Eve' (from Istomin and DiutfiCh collection); see Petrushka (I).

fig. 41 Ex. 127. No. 6 of Lyadov's Eight Russian Songs

Ex. 128a. The Rite of Soring (II): 'Mystic Circles of Young Girls' Ex. 128b. Renard

Ex. 128c. The Nightingale (III)

Sx. 128d. The Nightingale (III).

Ex. 128e. The -Sdldier*s Taie (II): the 'Devil’s Dance' Ex. 128f. Renard: opening ’îlarch*

Ex. 129a. Petruahka (IV): ’Nursemaids' Dance with Coachmen and Stable Boys' Ex. 129b, No. 40 of Rimsky-Korsakov's Collection of

100 Polk Songs Ex. 130. Berg: Wozzeck (I)

Ex. 131a. Apollon Musagète: Variation no.1 (3 bars after fig.22) Ex. 131b. The Rake's Progress (II^)

Ex..132. Ap 01lo n Mu sage t e: 'Birth of Apollo'

Ex. 133. The Rake's Progress (I^): Tom's aria -

'Love, too frequently betrayed' Ex. 134. The Rake's Progress (III^) from Duet:

'In a foolish dream'

(58)

915

Et.Oh^

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(59)

Ez. 135a and Ex. 135b. Octet; 'Andantino*

Ex. 136a and Ex. 136b. Oedipus Rex (I):

Creon’s aria - Respondit deus'

Ex. 137a and Ex. 137b. Symphony of Psalms (II)

Ex. 138a. Qedipus Rex (II)

Ex. 138b,.; Octet Sx. I38c. Serenade in A

(Cadenza finale) Ex. ■138d. The Rake’s Progress

(I^) '- from Tom's aria:

’Love, too frequently betrayed’

Ex. 138e.

The Rake’s Progress (III ): ûtretto-Pinale

(60)

916

0

(61)

Ex. 139a. The Soldier's Taie; the ’Soldier's March'

Ex, 139b. The Soldier's Taie: Music to Scene 1

Sx-. 139c. Mavra; Neighbour's aria

Ex. 139d. Mavra! Parasha's first aria

Sx. 139e. Oedipus Rex (II): Messenger's aria

Ex. 139f. Persêphone (III): Chorus - 'Apportons nous nos offrandes'

Ex." 139g. The Raice's Progress (III ): Duet - 'Every wearied

^ body'

Ex. 140a. Persêphone (lil)

Ex'. 140b. Persêphone (Ix): Chorus - 'Sur ce lit elle repose'

Ex. 141a.

Ex. 141b.

Threni (bar 189): De Elegia Tertia

The Plood:

'Te Deum'

Ex. 142. Persêphone (I): Aria (Euaolpus) - 'Ton printemps'

Exi 143a. .'Tilirabom'no..1 of Three Taies for Children

Sx.

. Ex. 1.43b. The Pirebird: 'Finale' Sx. 143c. The Rite of Soring (I):

'Rituai of Abduction' 143d. The Rite of Spring „ , ,

■ --- ---“ Ex. 143e.' Persephone (III) (I): Spring Rounds

143f. Persêphone (I) Ex.143g. Oroheus Ex. 143h. Threni:

De Elegia Prima

(62)

917

U.

(63)

Ex.

Ex.

-Ex.

Ex.

-Ex.

-Ex.

Ex.

Ex.

Ex.

Ex. 144a. The Rite of Spring (II): Ex. 144b. Oedipus Rex (II):

'Sacrificial Dance' Aria (Jocasta): 'Nonn' erubeskite' 144c. Oedipus Rex (I): Chorus - 'E peste serva nos'

144d. Symphony of Psalms (I) : Ex. 144e. The Nightingale (III)

144f. Qroheus: 'Pas de Deux'

144g. Agon Ex. 144h. The Flood

,(similarities in row structure of these two works) Oedipus Rex (I) Sx. 146. Renard - opening bars of

first vocal number, 147. The Flood: 'Jacob's Ladder' music (b.6)

148. ...Brahms: Symphony no. 3 (first movement)

149. Renard.

150. Threni (b.191): De Elegia Tertia

(64)

918

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(65)

Ex. 151a

Ex. 151a. Song for St. John’s Eve (collection: Istomin and Diutsch) Ex. 151b. No.72 of Rimsky-Korsakov's collection of

100 Polk Songs

Ex. 152. Rimsky-Korsakov: Scheherazade

Ex. 153a. Debussy; Prélude a l'Après-midi d’un Faune

Ex. 153b (i)', (ii) and (iii)

Debussy; Pelléas et Lâélisande (I.,)

Ex. 154a. The Rite of Spring (II): Sacrificial Dance

Ex. 154b. Renard; opening ’March’

Ex. 154c.

Mavra: Mother’s aria

Ex. 154d. The Soldier’s Taie: ’Royal March’

Ex. 154è. The Plood: 'The Plood''

Ex. 154f. A Sermon, a Narrative and a Prayer; 'Narrative'

Ex. 155. The Pirebird (1919 version):

'Infernal Dance of Kastchei's Subjects' Ex. 156. Petrushka (IV)

(66)

919

] t ? w 1 vhf ♦ f~rT~ ■rr. ■ 1 > 1 r <i[ ■ ~~ ■ ■ ■ — ' 1 ■ ■ .... ■ 0 .> -^-W -U»------ii--- d ' U- » V ' 1 iM

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(67)

920

Petrushka (I): The Shrove-Tide Pair

sœm-nsTw i

PETRUSHKA

(I)

(68)

Ex. 158. Petrushka (I): The Shrove-Tide Pair

Ex. 159. Petrushka (I): opening bars

Ex. l60a. Symphonyof Psalms (III) Ex. I60b.

The Soldier's Taie;

'■Royal March' Ex. l60c. The Rite of Spring (I):

'The Augurs of Spring'

Ex. 161. The Nightingale (I): Introduction

Ex. 162. The Nightingale (I): Introduction

Ex. I63a. The Nightingale (I) Ex. l63b. Renard (b.236-238)

■Ex. 164a. The Nightingale (II) (i)

Ex. l64a. The Nightingale (II) (ii)

Ex. 164b. The Nightingale ■ (II)

Ex. 164c (i) and (ii). The Nightingale (III)

Ex. l64d ,(i) and (ii). The Nightingale (III)

(69)

921

(70)

922

Ex. 165. The Soldier*3 Taie; ’Soldier's March' (tensions between two rhy.thmic layers)

(le«da ber off

Ex. 166. Mozart: Don Giovanni (I5I (polymetric unity)

(71)

Ex. 167. The Soldier's Taie: 'Soldier’s March’

Ex. 1Ô8. The Soldier’s Taie: 'Waltz' - ’Hagtime' (rhythmic and metric 'transition' material)

Ex. l69a. The Wedding (II): Ex. l69b. The 7/edding (II):

fourth tableau fourth tableau

Ex. 170. The Wedding (II

Ex

: fourth tableau

Ex. 171a. Pulcinella:

'Tarantsila' (from orchestral suite)

171b. The Eairy's Kiss:

'Pas de Deux'

(72)

923

(73)

Ex. 172a. Orpheus: 'Air de Danse'

Ex. 172b'. Symphony in Three Movements (I)

Ex. 172c. Orpheus; Interlude

Sx. 172d. Symphony of Psalms (I) Ex. T72e. Orpheus;

'Air de Danse' Ex. 172f. Apollon Musagète;

■'Apotheosis'

Ex. 173a. Symphony in Three llovements-, (I)

. Ex.. 173b. Symphony in Three Movements (I) Ex. 173c. Orpheus; opening bars

-Ex, 174. Havra; Parasha's first aria

■Ex. 175a, b and c. Mavra.

(74)

924

fAnOM xoKtrrmM i

(75)

Ex. 17é. Mavra; Overture

Ex.

Ex.

Ex.

Ex.

Ex.

177a. Qedipus Rex (II): Messenger's aria -

•'Reppereram in monte'

177c. Qedipus Rex (I): Qedipus' aria -*Liberi,vos liberabo'

177d. Apollon.Musagète: closing bars of Variation I

178. Qedipus Rex (I); opening chorus - 'Kaedit nos pestis’

179. The Plood: the 'Building of the Ark'

Ex. 180. The Plood:

'The Plood'

(76)

925

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(77)

[MD

926

OedipuaRex

(II )

(78)

Ex. 181. Petrushka (IV)

Ex. 182a. The Rite of Spring (I): Ex. 182c. The Rite of Sprine;

Introduction (b.1-2) (I) Introduction Ex. 182b. The Rite of Spring (I):

Introduction (b.5-6)

Ex. 182d. The Rite of Spring (II): Ex. 182e. The Rite of Spring

Introduction (II) final bar

Ex. 183a. The Nightingale (I) Ex. 183b. The Nightingale (III) Ex. 183c. The Nightingale (II) Ex. 184. The Nigjhtingale (II); 'Chinese March*

Ex. 185a. Renard: opening vocal number Ex. 185b. Renard (b.236-7)

Ex. 185c. Renard Ex. 185d. Renard (b.468-469)

opening ’March’ (b.20-23) Ex. 186a, b and c.. The Soldier*3 Taie (I);

a. ’Soldier's March’; b. ’Soldier's March'; c. Kusic to Scene 2 Ex, 187a, b and c. Oedjpus Rex(Act I)

Ex. 187d, e and f. Oedipus Rex (Act II)

Ex. 188a. Persephone (I) - b.1-2 Ex, 188b. Persephone (I):

chorus - 'Ivresse matinale’

Ex. 188c. Persephone (III): Ex. 188d. Persephone' (III)

.(opening bars) -chorus: 'Encore mal reveillée' Ex. 189a, b and c. The Rake's Progress

a. I^ b. III^ . c. II^

Ex. 190. Â^on: Bransle Simple Ex. 191. The Plood: 'The Plood' Ex. 192. The Flood: 'Comedy'

(79)

927

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(80)

928

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(81)

Ex. 196a.

chorus:

Ex. 196c.

Sx. 196d.

Ex. 197a.

Persephone (II): Ex. 196b. Perséphone (II):

'Sur ce lit elle repose' chorus: , 'Sur ce lit elle repose'

Orpheus: 'Pas des Puries'

Orpheus: opening bars of scene 1

Symphony in Three Movements (III)

Ex. 197b., Si'raphony in

Three Movements (I)

(82)

929

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(83)

Ez. 198a. The Soldier's Taie (I): Ez. 198b. Mavra: from

Ez. 198c.

'Soldier's March' Oedipus Rez (I)

Duet (liother and Keighbour)

Ez. 199a. Oedipus Rez (I)

Ez. 199b. S:/mphony in C Ez. 199c. Oedipus Rez (II)

Ez. 200a. The Rake's Progress (II_): Ez. 200b. The Rake's Progress from

. M J

'Pantomime' (III^): from Coda to duet -

'In a foolish dieam' Ez. 200c. Petrushka (I):

Barre 1--organ épisode * 200d. Petrushka (III):

'ïïaltz'

Ez. 201. Wagner: Die Meistersinger von Nürnberg (Overture)

Ez. 202a. Mavra;

from Hussar's first aria

Ez. 202b. Perséphone (closing bars)

(III) Ez. 202d.

The Flood;

'The Plood' Ez. 202c. The Rake's Progress Ez. 202e.

from Anne's arioso - The Rake’3 Progress (III^):

'0 heart, bè stronger’ from 'Finale'

(84)

930

Sx,2ooe,\^as.p.93l

P hit,

(85)

931

Ex. 200e. Perséphone (II)

(86)

Ex« 203a. The Rake’s Progress;

- 3 bars afterl27^

Ex, 203b. Persëphone (III) closing bars

Ex. 203c. The Flood; ’The Plood’ Ex. 203d.-

The Rake’s Progress: (I^)

Ex. 204a. Perséphone (II)

Ex. 204b. Persëphone (III)

Ex. 205a. Symphony ih Three Eovements (III)

(87)

932

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(88)
(89)

934

Ex. 206. Symphony of Psalma (closing bars)

Ex. 207. The Firebird: Transition between first and second tableaux

(90)

935

£rc. 2.09 Ex. 209

;'^D20'Paiieni mttmton

(91)

936

(92)

Ex. 211. The Soldier’3 Taie (II):

«Triiiinphal March of the Devil'

Ex. 212a. The Soldier's Taie (II): 'Little Concert’

Ex. 212b. The Soldier's Taie (II): 'Triumphal March of

the Devil’

Ex. 212c. The Soldier’s Taie (I): Music to Scene 2

Ex. 213. The Flood:

'The Covenant of the Rainbow (closing bars)

Ex. 214. Persephone (II) Ex. 215. The Flood:

’Building■of the.Ark’

(b.324-32S)

(93)
(94)

Ex. 216.. Four Russian Peasant Songs: No.2 - ’Ovsen'

-Ex. 217a. Renard, (b.485-490)

Ex. 217b. Renard (b.392-398)

'Ex.- 217c. Renard (b.370-371) Ex. 217d. Renard (b.91-93)

—Ex. 217e. Renard (b.85-86)

Ex. 218. Mavra (Cook*s aria)

"Ex.: 219a. Oedipus Rex (II) Ex. 219b. Oedipus Rex (I)

Ex. 21.9o. Oedipus Rex (I)

■ Ex. 219d. Oedipus Rex (I)

Ex. 219e. Oedipus Rex (I)

(95)

938

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(96)

Ex, 220 (i) and (ii):

Persephone - chorus: 'Viens, joue

(I) avec nous'

Ex, 221a. Persephone (I):

chorus: 'Ivresse matinale' Ex. 221b. Persêphone (II):

chorus: 'Sur ce lit elle repose'

Ex. 221c. Persiphone (III): chorus - 'Nous apportons nos offrandes*

Ex, 221d. Persephone (II)i aria (Eumolpus) - 'Persephone confuse'

Ex, 222a, The Rake's Progress (I_): 'Brothel* chorus 2

(With air commanding and weapon handy) Ex, 222b. The Rake's Progress (I^): Ex. 222c. continuation of

Duet - 'The woods are green'

(iii) (iv)

Persëphone (I); Perséphone (TI) aria (Eumolpus); aria (Eumolpus)

'Persephone, un 'Persephone peuple :î'attend' confuse'

Ex. 223. The Rake's Progress (I^): from Anne's aria - 'I go, I go to him'

Ex. 224. The Rake's Progress (II^): from Duet - 'Anne! Here!'

Ex. 225a. The Rake's Progress (II^): Recitative (Baba) -

*My love, am I to remain in here for ever?' Ex. 225b. The Rake* s Progress (III^); Recitative (Tom) -

'Permit thy mortal bridegrobm*

Ex. 225c. The Rake's Progress (III^): Finale

Recitative (Tom) - 'ïïhere art thou, Venus?' Ex. 226, The Rake's Progress (III^): Lullabÿ (Anne) -

'Gently, little boat’

(97)

939

(98)

Ex. 227 The Rake's Progress' ; from Arioso (-Tom) - 'Préparé yourselves' Ex. 228a. The Rake's Progress Coda to Duet -

'In a foolish dream' Ex. 228b. The Rake's Progreas Ex. 229. The Rake's Progress

chorus - 'Many a Duchess'

Ex. 230a. The Flood; Te Deum (b.8-13)

Ex. 230b. ■ -The Flood; 'God's Word' (b.93-96)

Ex. 230c. The Flood: 'The Covenant of the Rainbow' (b.479-4-82)

Ex. 230d. The Flood; 'The Covenant of the Rainbow' (b.497-507)

(99)

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(100)

Examples 231-302:

unless indicated otherwise, Exs. 231-302 refer tothe score of The Nightingale (B. & H. 18936)

(H.P.S. 738)

(101)

942

(102)

943

(103)

944

(104)

945

(105)

946

(106)

947

JEU DU ROSSIGNOL MÉCANIQUE

8o opcMs Hrpw HacyccTBCHKaro conosbn HacroMUiifl co/iuacA Hc-iaMiTHO ttc'ieiacTk.

P«mdAnt e*tté se«n«, /< vrai rnsaifmnl disf^rait sans itrm rêmarqmè.

Wihrsad diesar Siaoa (Uagt dia achta Nachti^all aabamarkt davoo.

■ Dmrinff tkis sesmé tks raai nigktinffais disaffears, anoSssrvéd.

(107)

948

CHANSON DU ROSSIGNOL

9

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£k. CHANSON DU ROSSIGNOL

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CORTÈGE SOLENNEL

npMABopHwe, CMHTaa KHTaAcicaro HMneparopa yxe yMcpiuHMV uepcMOHÎajibHUMV Mapuiesci Bxooarv rw nepcAHie rokoh oaopua. laHaslCb. oTjrtAflioiuaii noc/rtAHie otv onosMSOAbHM TopxecTMHHo aaAepwMBaercj) naxaMM Cb npoTHsyno;ioxHbub cropOH^.

X«4 coar/»aa»9 fvnsani qmé l*Smfrûmr $st Morf, tnirmnt omx ao«a mareht soUmmalis »i $*avamc9ni B«rs ta ckambr» d*

rfoa, dont dos fagaa ratianmant avac soUmntti iaa ridaamx /armés.

Di« HdfUac«, 4i« Kaiaar f€r t«t haiteo, trateo s« deo «ioaa («iarlicbao Marachaa «ia and oibera «icb dem Sebla/xiaixMr^

daaaen Vorhioga di« Pagea xeraaooiall gaachloaaaa ballao.

Tka eomrttarSj beliaoinf tka Emfar*tr tn ba daad, antar tn ika somnd **f a aolamn. marck and adeamea tnmards'tke badckambar.

Pianissimo J = 40-43

(126)

965

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(127)

966

Exaniples 303-360;

unless indicated 0ther7n.se, Sxs. 303-360 refer to the score of Renard (J.ff.C.SO^)

(W.Ph.V. 176)

(128)

967

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