Stravinsky, the Fire-Bird, "The Fire-Bird's Dance,"

/N81 AI2319

Ti VILSKY' USE OF IEhPIAN

IN HIS ORCHESTRAL WORKS

THE IS

Presented to the Graduate Council of the

North Texas State College in Partial

Fulfillment of the Requirements

For the Degree of

M1- JiROF JU.SIC

by

Wayne Griffith, B. Mus.

Conway, Arkansas January, 1955 TABLE OF CONTENT4

Page LIST OF ILLUSTRATIONS ...... ,.. , , * . . . Chap ter I. THE USE OF PIANO1E A' Al ORCTHE TL I:ThUERIMT BEFOR 1910 ...... , , . . . . . , , l

STRAICY II. S U6 OF 2E PIANO S E114ORCHES L ORK HIS OF "RUSIA PERIOD ...... 15 The Fire-Bird Pe~trouchka Le han u hossignol

III. STAVIL C ' 0 USE OF TE PI 40IN 9M ORCHESTRAL

.RKS OF HIS "NEO-CLASSIO" PERIOD ...... 56 Symphonyof Psalms Scherzo a la Russe Scenes IBfallet Symphony~in Three Movements

BIIORPHYy * - ...... 100

iii 1I3T OF ILLUSTRATIONS

Figure Page 1. Berlioz, Leio, Finale, (from Berlioz' Treatise on Instrumentation, p . 157) ...... 4

2. Saint-Saena, ym phony in 0-minor, (from Prof. H. Kling's Modern Orchestration and Instrumentation, a a.~~~~*f0" 0. . 7 p. 74) . . . . . 0 0 * * * 3. Moussorgsky, Boris Godunov, "Coronation Scene,'" 36-40 mm.f . -a - - --. . . . " " . . . . . 10

4. oussorgsky, Boris Godunov, "Coronation :scene," mm. 241-247 . . . f . . . * ...... 11

5. imsky-Korsakoff, Sadko , (from rimkir -Korsakoff' s Principles of 0rchtiration, Lart II, p. 135) . 12

6. ximsky-Korsakoff, The Snow aiden, (from Zimsky torsatoff'c tTTrin~lecs ofhOrchestration, Part II, . 01) . . - - . . . . - . . . * - - . . . 12

7 . i s akosy-. o Rf, TVe

'p. 58) . . . aa. .a. .a- -.-"- -a-a -r . . . . .". 13

8. Stravinsky, The Fire-Bird, "The Fire-Bird's Dance,"

9. TheFire-Bird, "The Fire-Bird's Dance," m. 27 . * 22

10. ThFire-Bird, "The Fire-Bird's Dance," m. 29 . . 23

11. TheFire-Bird, "Infernal Dance of K astchei ,"

Am. "e27-28 m.-0 - - 0* - 0 0 0 * . * . . . .0.f 23

12. The Fire-Bird, "The Fire-Bidi's Danee," mmi . 51-55 .- A.- . a- ..-- - - - . . . . f a. .f.r. 24

13. The Fire-Bird, "InfernaL Dance of tastehei," M . 1- 0 * -- * * * * * * * * * * * * . . * * 25

14. The Fire-Bird, "Infernal Dance of Kastenei," mm - 07076 - 0 * 0 * 0 * * . *.. . 0 . 26

iv igure Page

15. The Fire-Bird, "Infernal Dance of kastchei ,"

. 0 27 16. Th e Fire-Bird , "Infernal Dance of astch.ei , 1 2 9 1 3 0 mm. - .-. . , . . , * . * . . * . .-. . 0 28

17. The Fire-Bird, "Infernal Dance of iastci ei,

. . 28

18. The Fire-Bird, "Infernal Dance of Ka thei,

mm. 177-180 *.t-ik,. Ta . . . .a I ...... 8 . 0 29

19. 4stravinsky, Petrouchka, Tableau I, rm. 26-28 . . 33

20. Petrouchka, Tableau I, mm. 23-27 ...... 34

21, etrouchka, Tableau I, . 42-51 ...... 35

22. Petrouchk, Tableau I, m. 74-82 ...... , . 36

23. Petr.ouchka., Tableau I, "Russian Dance,U .. 9,...... , .* ...... , . . . . . 36

24. Petrouchkca, Tableau I, "Russian Dance," .. mm. 1- ...... n . 0 . 0 * 37 25* Petrouchka, Tableau I, "Russian Dance," ii.i 9-T...... 0 . . . . 38

26* Petrouchka, Tableau I , ".s9silDanee,I 1 -0 4-106 . .9 ., . 0,, ...... 458

27. Petrouchka , Tableau I, mn. 9-1 . . . . 0 0 . . 39

28. Ravel, Jeux d'Eau, m. 72 ...... , 0 . 40

29. Petroucka, Tableau II, mm. 19-20 . . . . 0 ." . 40

30. Petroucka, Tableau II, mm. 27-28 . " . *. . " 41

31. Petrouchka, Tableau II, mm. 33-36 ...... 42

32. Petrouchka, Tableau II, mm. 51-53 ...... 43

33. Petrouchka, Tableau II, mm. 76-77. . 0 . . . 43 34. Petrouchka, Tableau III, "Vet-iurses' Dance,"

fn. 39-40 . . . ". *. 0.".-." ., ." .0 .0 .0 0. . . *. 0 . 44

V Figure

35. etrouchka, Tabieau IV, "Gypsies an a Rake ort mm. 10-12 44

36. 2r c a, Table IV, Th Ziv-T, F 45 . 2etrocchna, Tableau IV, "Dance of tie Coachmen," mm s . 8 - 2 . . .r 4*. . . 0. a, 0.0 ". : .f .'. 45 66. Qetrouchk.a, Tableau IV, "'vswueraaer',"

im. 4 '75j * * * . , * * . * - - * * " . * . . . 46

39. Petrouchka, abieau IV, Sas uerades mm. 1-2 ...... * * * 0 , . 9 47

40. Pe trouchka, Tabieau V , "The Shuffie," mm. 12-13 . , . . " ...... 47 41. travinsky, te Oant duosigno , m-. 33-35 . . 50

42. Le Chant Su ossigioi, MM. 151-153 ...... 50

43*. Le Chant diu osignot i, . .. . f "

44. Le Chant du j:osigno1, imn. 130-131 . . . .

45. L Cat du ossignol, mm. 198-204 ...... 52 46. Le Chant dujocsi1nomm. 367-369 ...... 53

7. ehant uSsinol, . 294-295 ...... 54 48. Le Chant d u R sig mm. 344-350 . . . . 55

49. Stravinsky, . yjo of Psalms, First 4oveen " mm 1o . ' - * * - - - . . . . 65 50. Symphony of' salms, First movement, mm. 15-20. 66 1. zhony .of Psalms, First :iovement,m. 65-67 68 52. Syphony 0v _ Psalms, First Movement, mm. 72-73 . 69 53. Syphonyo_ Psalms, Tiird iovunent, n i. 38-39 . 0 70 54. Sjyphny of Psalms, Third M ovement, Mm.T.911F. - - - -! -* -* -a -# -" -* .e 0 . . . 70

vi Figure Page 55, xyaphoy of Psalms, Third ovement , mm. 4-6 . . . 71

56. ymhon of Psalms, Third Moveme nt, tam. 39-41 . . 72

57. ymphony of Psalms, Third Movement, mm. 92-97 . . 73 58. yhonyof Psalms, Thi rd movement .*160 16 . . . 0 0. . . 75

59. Scherzo la a Russ, Trio I, mm. 5-7 ...... 76 60. Scherzo a_ is ,sse,t 1-4 ...... 77 61. Scherzo a I Russe, Trio II, mm. 1-2 ...... 78

62. Scenes de Ballet, Variation of the Ballerina, . . 0 0 0 0 . * * * 0 0 . * * * . * 79 M 01-3 0 63. Scenes de Ballet, Introduction, mm. 1-5 . . . . . 80

64. Scenes de Ballet, Varia tion of the Ballerina, mm1. 30~-~3A . s.".s...... ".". . . " . 81 65. cenes Ballet, de Pantomime, ma. 18-19 . . . . . 82 66. cencs de Ballet, 'tPas de Deux, " .mm.31-32 . . . 82

67. Scenes de Ballet, Tances ("corps de ballet"), mm. 36-39 * ...... 83 68. Scenes d e allt, "Pas de Deux," mm. 40-41 . . . 84 69. Scenes de Ballet, Apotheosis, mm. 18-22 . . . . . 86 70, ympony in Three Jovesents, First Movement,

mm. ". - "- f- .- "-.-f- "- "-"- 1-4 "- . . . "." ". f. . . 88 71. JymJony in Three Movements, First Movement,

.. 2- - *7 .- ...... 89

72. _ymp__n in Tiroe WMovoinen ts, Fir st Movonment 90 0 0 * .0 4 0 0 0, . . a -~aU ". . ,

honin Three Movements, First Movement, ran. 1 ~ s 7 . . " " " " " . . " r.".". .".f.". ". 90

74. symphony in t Movements, First hove-ent, mm. 144~~b2 ...... ' . . 92

vii igure age 75. ymphny in Three movements, Firs tMovanent rum. 318~~7320T 7. . ., . . . ,. . . 93 76. Syphn inThree hovanents, Third hovanent, mm. 113-118 . .. , . , * . ' . * 94

77. Symphony in Three Movements, Third Movaent, 781-4 in Three overents, - hir ho-v.em.ent, .

78. ymphny n Thee ovement , Third Movement, m. 2 2-205 ,! ,. , , , , , , a , , , , 9

viii CHAPTER I

THE USE OF THE PIANO AS AN ORCHESTRAL INSTRUMENT

BEFORE 1910

The use of the piano with the orchestra can be divided

into three categories: as a solo instrument, as an accom panying instrument, or as a percussion instrument. 1 The piano was used only as a solo instrument in the time of

Mozart and Haydn since the concept of orchestration at that time was "to bring out the melodic and harmonic structure of a work and to reveal all the musical substance it con tained.a 2 As lesson states:

A diminutive orchestra in itself, the piano generally refuses to associate with the orchestra except in the piano concerto where it plays the domi nating part. The timbre of the piano blends poorly with the orchestra; it remains insoluble. This fact has been pointed out previously by Fetis (in his Curiosities of Music, 1829) after that eminent musi cologist had heard in London symphony concerts directed at the piano by Sir George Smart and Dr. Crotch.3

There exist comparatively few symphonic works in which the piano is treated simply as an instrument in the orchestra on the same footing as the other instruments, either as an

>.aurice Gardner, &eOrchestrator's handbook, p. 48. 2 Boris de Schloezer, "Stravinsky; His Technique," Dial, LXX VI (January, 1929), 14.

3rnest Closson, History of the Piano, p. 10.

1 2

accompanying instrument or as a percussion instrument.4 In

speaking of the treatment of the piano as just another in strument in the orchestra, Bernard Rogers states:

Contemporary composers show an occasional dis position to add the piano to the orchestral ranks. Since it is in principle allied to the percussion instruments, it will be considered briefly here. The piano's traditional role as rival to the orchestral ensemble has gradually changed to that of color com plement; its wide palette has been incorporated into that of the orchestra.

The piano's range slightly exceeds that of the full orchestra. Its color may be merged more or less freely with that of the other instruments. The modern attitude perhaps views the piano as a sonorous and rhythmic resource rather than as a lyric adjunct. How ever, melodic doublings are often found, especially in the higher and deeper areas.

The upper tones of the piano add verve and clarity: they mix vividly with woodwinds and pizzicato, with harp and with the smaller percussive instruments. The deep sounds have great power and substance, especially valuable for bell-like suggestion. In this region, fine changing mixtures are possible with the large percussion, deep pizzicato, and low brass. The imaginative use of the damper pedal widens the piano's color scheme; the "una corda" effect is a fine one in the softer dynamics.

Like other percussion instruments, the piano con sorts best with the wind choirs. Its tone is too ob jective and precise to form a natural union with (bowed) strings.5

Although the piano has become popular as an instrument in the orchestra only since the time of Stravinsky and his contemporaries, it appeared in symphonic works as early as

4 For purposes of this thesis, these two treatments will be considered as one.

5Bernard Rogers, The Art of Orchestration, p. 77. 1830. Berlioz used two pianos in Lelio (nonodrame Lyriue) 6 "to add the peculiar resources of the piano to the orchestra

and to create effects which could not be attained in any

other way." 7 The composer gives the following description of its use in his Treatise on Instrumentation:

In a chorus of airy spirits, the author lets two pianos for four hands accompany the voices. The lower pair of hands executes a rapid, ascending arpeggio pattern in triplets, which is answered by a descending three-part arpeggio of flutes and clarinets; the latter passage is illuminated by a double trill in thirds, executed by the other pair of hands on the higher piano. No other instrument could produce such a harmonious glimmering of tones, which the piano renders without difficulty, and which the sylph-like character of the piece requires. 8

The unusual scoring of the pianos against the chorus and

strings in the Finale (Fantaisie sur la tempete) of Lelio (see Figure 1, p. 4) is typical of the unconventional orchestral

settings used by Berlioz in his works. Carse gives the following description of his instrumentation:

6Barzun remarks: "Ading the piano to the ensemble was, Berlioz thought, an innovation, for he did not know Beethoven's Fantasia for chorus, orchestra, and piano (Op. 80). The scoring in Lelio (two pianos, four hands) was in any case different, for Berlioz wanted not only the crystalline and silvery sonorities of the instrument for the "Tempest" fairy land, but also the percussive quality; and these not in con trast with orchestral tone as in the piano concerto, but in combination." (Jacques Barzun, Berlioz and the Romantic Cen tury, Vol. 1, p. 225.) The Fantasia was not considered for this study since the piano part is written in the concerto style.

hector Berlioz, Treatise on Instrumentation, p., 153.

8lbid., p. 157. 4

No. 57. L~lio, Monodrame Lyrique, Finale (Fantaisie sur la tempdte)

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Fig. .-- erli , Lio, Finale, (from er'Lioz Treatise Instrumentation,, 107) 5

To Berlioz the orchestral setting of his music was no secondary matter. In his musical organism, strange, independent, and unconventional as it was, instrumental effect occupied a position of great im portance; so much so, that it is almost impossible to avoid the impression that he sometimes built up music in order to show off a particular pre-conceived orches tral effect. Approaching the subject with little re gard for usage or tradition, Berlioz, so to speak, spread out before him the entire material of orches tration, and then proceeded to build his own edifice; what he evolved included much old as well as new matter but each design was considered independently of previous experience or custom. The possible uses of each instru ment, of each tone-color, and of all combinations and blends, seem to have been judged solely on their merits; everything was investigated afresh and without prejudice. Even the most unpromising and insignificant corners in the range of orchestral effect were probed and brought into the light; a chance was given to anything new, experimentally it might be, and not necessarily success fully, but always fairly, and even generously.

Later works in which the piano is used as an instru

ment in the orchestra include the coomic opera Ue Folieby Mehul, the opera The Daughter of the Regiment by Donizetti,

Gounod's opera Philemon and Baucis, symphony Cevenole by

D indy, and Saint-Satins' Symphony in C-(4nor. 1 0 The last work was dedicated to the memory of the famous pianist

Franz Liszt, and was first produced on May 19, 1886, before

the great master's death, which occurred on July 31 of the same year. The form of the wor is unusual. It is

9 Adam Carse, The Historyof Orchestration, p. 255. 10Henri Kling, Modern Instrumentation and Orchestration, p. 73. (Scores of these ors were notavalble for this study.)

1 1 Arthur Hervey, Saint- aens, p. 98. 6

divided into two sections, a procedure already adopt ted by

the composer in his Fourth Piano Concerto and First Violin

sonata. In reality, however, it contains the four traditional

movements, the first leading without a break into the Andante, and the cherzo likewise linked to the Finale. Tie compo ser as stated that his object in so constructing the work

was Ito avoid the endless resumptions and repetitions theich

more and more tend to disappear from instrumental music un

der the influence o: increasingly developed musical culture., 1 2

ait-aens used a very full orchestra, including an

organ and two pianos, for tis work. The pianos are em

ployed mainly in the playing of scales and arpeggios in the

second. art of the work (see Fig. 2 p. 7).1

Ac ording to dinsy-:orsatofu, the use of a piano in

the orchestra (apart from concerti) belongs almost entirely

t o the Russian school. In his Prijcile of Orchestration he set sup the following objective s for its use: t The objec is twofolu: the quality of tone, either alone, or combined withte harp, is tade to

( _ason Lyle, a-'As, is Fe n rt, p. Lu ctuall y onl vone pTFno th two Peroriers i calLed for in ti-n sore.) 7 EXTRACT FROM THE THIRD SYMPHONY IN C MINOR.

CAMLLE SAINT SENS, Op. 78.

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4 imitate the guslil or a peal of soft dells. When the piano fos part of an orchestra, an upright is preferable to a grand, but the piano is being super seded by the celesta, first used by Tschaikw . . . The celesta is found only in full orchestra and when not available should Te replaced by an upright piano, not a glockenspiel.

Glinka (1804-1857) was the first of the Russian school

to use the piano in combination with the harp to imitate the

gusli, a device which imsky-Korsakoff later used in his

opera sako and The Snow Jaiden.1b In Glinka's orchestral works is laid the foundation for the brilliant instrumenta

tion Which is so characteristic of Rimsky-Korsakoff and later Stravinsky. Coarse gives the following description of his instrumentation:

To Glinka, the three main instrumental groups of the orchestra were so many distinct and self-contained bodies whose t .nctions should be clearly separated, and whose colors should be used in sharp contrast with one another, rather than as three parts of a whole whose individual characteristics should be toned down and modified as far as possible by means of combination, by intermixing and blending of tone-colors.

The use of elementary colors in heir native state, separated one from the other by clean lines of demar cation; clearly differentiated colors for te duties of defini- the melodic line, the ha onic background, or

4 . &eiriger states that russian ialk music relied largely on the use of three primitive-instrupents with plucked strings. Two of these, the balalaika and domra, are guitar-like; the third, gusli,he is a kind of psaltery or zither." (Karl Geiringe r, Iusical Instruments, p. 198.)

1O1icolash imsky-Korsakoff, Principles of Orchestrat ion,

1icolas imsky-Kaorsa of, y musical Lfie, p. 199. 9

the decorative figure; opposition rather than amalga mation; crudeness rather than subtlety; these were the articles of Glinka's orchestral faith, as against the more mixed coloring, the smoother transitions and elaborate more or congested textures of his German contem poraries.1 7 Moussorgsy utilized the percussive 4 bell-like tone of the piano in the "Coronation Scene" from his opera, Boris Goduno v (1874) .18 At the beginning of the scene, t he piano, playing staccato, is doubled with flute and pizzicato strings. Later in the same scene it is scored against full orchestra

(see Fig. 3p, . 10). Near the end of the scene the piano

plays a triplet ostinato figure against a duple figure in

the harp (see Fig. 4, p. 11); full orchestra axe chorus bring the scene to a close.

imsky-Lorsa off's use of the piano in Samko (1896) i definitely another step toward the percussive use of the instrument which his pupil, ctravinsky, later exploited. The following example is quite similar to the pianistic de vice employed by Stravinsky in the final tableau of ?etrouchka, in Ull thich chords are alternated by the two hands in a

sixteenth note rhythm (see Fig. 5, p. 12):

1 7 0arse, op cit., pp. 266-267.

8 hinm sky-horsakoff re-orchestrated the "Coronation scene" from Boris in 1892. The whole opera with severe cuts was re-written and re-orchestrated from 1892 to 1896; the oats were restored in the new ormi in 1906; and two additional passages were composed for the "Coronation t Scene" at Diaghilev's request for he Paris production of 1907. The piano part is retained in the re-orchestration of the "Coronation Scene." (Gerald Abraham, ijsl_- orsakoff, p. 141.) 10 cAL~jC. ______.______-_ IM4. b4. b4. , b.

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Fig. 5 .-- Rimsky-KorsakoSff, ako, (from Rimsky-Lorsakf t Principles of Orchestration, Part II, p. 135.)

The tremolo of two chords in the following example from

The Snow aaiden (1881) is a device employed very frequently by Stravinsky in his works:

rx I

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Fig. .-- imsky-Korsa:off, The Snow !! aiden (from Rimsky Korsaoff's Principles of Orchesition, Part II, p. 101.)

In speaking of The Snow Maiden, Rimsky-orsakoff mace the following statement in his autobiography:

I imposed. no particular limitations on in the orchestration myself of this work. Even here I did not dispense with the piano, as I needed an imitation of the gusli (dulcimer)--a method bequeathed Gby (inka. 19

19icolas Rimsky-Korsakoff, ivi Musical Life, p. 199. Figure 7 from The snow Maiden illustrates the use of combined harp and piano to imitate the gusli:

_ _ _ _ IC,,r a_

Fig. 7.--Rimsky-Korsakoff, The Snow(Maiden, (from Rimsky Korsakoff s Princiles of OrchesTtion7 Part II, p. D8. )

In speaking of Rimsky-Korsakoff's instrumentation Carse states: Rimsky-K(orsakoff added to the elements identifi ed with the early Russian orchestration a super-brilliance and splendor of coloring, also a sophistication which almost hides the foundations on which his style rests. He explored every corner of the orchestra for variety of color and novel treatment and even surpassed Tschai kowsky in sheer brilliance and enterprise, but at the cost of losing to some extent in clearness and good balance. 2 0

20 arse, op. cit., pp. 307-308. 14

The increased use of the piano in te orchestra of imsky-KorsakOf and Stravinsky reflects a great change in

the tonal concept of the orchestra. "One no longer seeks the mixture of timbres so much as their opposition, and one is

thus brought to underline the specific characters of the different orchestral timbres, and to allot the different groups of instruments their own individuality.21

21 Schloezer, op. cit., p. 13. CHT IfI

-TRAVIN:KY' UE OF 'TEPIA0 IN TE O\OH{STAR OE

OF HI VTL" J tA PERIOD

trvinsty's productive activities may, for i e sake

of clarity, be classified under three headings, each of

which represents one aspect of the composer's musical de

velopment: the works of the- academic impressionist, of the

Russian, and of the Neo-Olassicist.l However, the chief

characteristic of travinsky's work when considered in

perspective is its discontinuity, and there is lack of vhat one can call progressive development from one work to another.

Each one of the important works suffices, in a certain sense, in itself. As Tancman states:

To Stravinsky, each wor presents a particular problem to be solved, something for the intellect to put in order, an obstacle to overcome, and if there is no obstacle, one must be created for the sake of conquering it. For art, like evexy purely human con tribution to organic existence, requires an element of contrivance, necessitated by man's struggle against difficulty and the constraint of order. Stravinsky is aware of this obstacle and acts with a regard for it, for anarchic license precludes artistic qulity.2

Guido Pannain, Modern Composers, . 37. (Stravinsky diu not use the piano in &te orchestra of his earliest works; therore, only the last two periods of his life are con sidered in this thesis.)

'.lexandre Tansupan, lor Stravintsar, p. 9.

'5 16

Stravinsky in his first period was strongly influenced

by his teacher Rimsky-Korsakoff. He was the traditionalist

whose Symphony in E-flat had the spirit, if not the very

flesh , of the Russian Nationalist school. It was in the

eu d'Artifice, still strongly influenced by French impres

sionism in its stylistic and orchestral treatment, that

Stravinsky's future direction first revealed itself. The

rough and somewhat arrogant orchestra of the Feu d'Artifice

alrea y contained th e promise of an instrumental conception

different from that of the period. The timbres try to con

trast in their independence, to bring out their sonorous

personalities, instead of blending themselves into color combinations. 3

In the works of the middle phase of Stravinsky's de velopment--ranging from The Fire-Bird to Les'ooes--$travinsky

was essentially the Russian. His second period stemmed from the soil of the "Russian Five"--from houssorgsky and Rimsky

Korsakoff particularly--and he was obsessed by Russian folk music in the works of this time. 4 The bulk of Stravinsky' s

compositions in this period were closely linked to the ballet.

This fact is due to the composer's association with Sergei

Diaghilev, who was the founder of the ballet which bore his

3bid., p. 101. 4 David Ewen, Twentieth Centur Composers, p. 16. 17

name. Diaghilev had been presenting performances of music and dance for some years in Paris when he heard Stravinsky's Feu d'Artifice and commissioned him to compose the score for The Fire-Bird. The purpose of these concerts in the French capital was:

To direct the attention of the French and cosmo politan world to Russian artists of all kinds: painters, decorators, singers, ballet dancers, and composers. The artistico-patriotic propaganda of Diaghilev culmi nated in the spectacle known as the Ballet Russe, in which were combined--to the inense delight of the spec tators--the academic ballet of opera with the exotic dances and with the music of brilliant orchestral color of the nationalist Russian school. According to Lederman:

It is the theater through which Stravinsky's music has most profoundly affected our time. For nearly forty years each new ballet by him has been a major event in the life of art. True, his concert scores since the Octuor of 1923 have risen in number and deepened cumulative in impact. The contribution of all his works pure to music is of historical proportions. But he remains most spectacularly effective in th theater. There he is accessible to the larger world.

Because it was destined for the dance, Stravinsky's music emphasized certain features which later were extended to his concert works: clear ideas, rigorously delineated, strongly marked in their character of gesture motive7 and

5 Adolfo Salazar, Music in Our Time, p. 281.

6Minna Lederman, StrafinsK i the Theatre, p. 3. 7 The relation between gesture and tone is always vital a concern with Stravinsky. This is true whether he writes for the theater or the concert hall. In productions of L'histoire du Soldat and Les Noces he prefers to place 18

color motive (this refers as much to instrumental as well

as to harmonic color and is based principally on the charac

ter of the dissonance); and the economy, the laconic style,

the chiseled brevity of the discourse. 8 however, in

,travinsy's music, the dance element of most force is the pulse. As :alanchine states:

It is steady, insistent, yet healthy, always re assuring. You feel it even in the rests. It holds together each of his works and runs through them all. The time in Le cre changes from measure to measure; in Oedipus the rhythms are foursquare; in Aollon the patterns are uncomplicated, traditional; the _yaphony of 1940 reviews almost everything he has done before. hut in each worh his pulse builds up a powerful motor drive o that hen the end is reached you xOv, as with t, been completely statVsin fa c Lt aoosp etd, qex

The Fire-Bird

Stravinsky first used the piano as an instrument in the orchestra for the score of the ballet she Fire-Bird.

The Russian legend of The Fire-Bird was planned as a ballet for Diaghilev by Fokine even before the commission for writing the score went to Stravinsky. Another Russian co poser, Liadov, had been assigned the job, but he the instruments on' the stage, since "the sight of the gesture and movement of the different parts of the body that produce it (the music) are essential to seizing it in all its breadth. (Artiur Berger, "Music for the Ballet," Stravinskyi the Theater e, p. 41.)

falazar, Lp. cit. , p. 282.

9George Balan chine, "The Dance Element in Stravinsky' s Music, Qtravinsky in the.Theatre, p. 75. 19

procrastinated so long in completing his commission that

Diaghilev decided to entrust it to Stravinsky. He devoted the winter of 1909 and the early months of 1910 to the writing of this music, and on June 25, 1910, the Ballet

su se introduced The Fire-Bird at the Paris Opera, vth

Fokine, Ame. Fokine, am Karsavina as the principal dancers.

The premier was a resounding success. It made Stravinsky famous overnight and brought to the repertoire of the Ballet

Ruse one of its most famous work.-0

Although Te Fir -Bird was originally a stage pro duction, since the dispersal of the Diaghilev Ballet its music has been more frequently heard. in the for of orches tral suites, of which there are three. The first, from the oxignal score, comprises: 1. Iitroductio. Kastchei's

Enchanted Garden and the Fire-Bird's Dance, 2. Supplication of the Fire-Bird, 3. The Princesses' Game with the Golden

Spples, 4. The Princesses' Horovod (Round ), 5. Infernal Dance of Kastchei's Retinue. In the second suite,v11 which is re scored for a smaller orchestra, numbers 1, 4, and 5 are retained as numbers 1, 2, and 3, and number 4 consists of the ullab and Clo sing Scene. 1 2 In speaking of the first

10David Een, The Complete Book of 20th Centur Music -o. 402 llThe score of the second suite (re-orchestrated by the composer in 1919) wa s used f or this study.

I Edwin EJvans, .travinsky: The Fire-Bird and Petrouch a, .1. 20

two suites Stravinsky states:

I had long toyed with the idea of arranging fragments certain of L'Oiseau de Feu in the form of a suite, for a much smaller but orchfsjiii, in order to facilitate its production by the many orchestral societies which, though wishing to include that work in their programs, frequently were deterred by difficulties of a nature. purely material In the earlier suite, which I had arranged shortly after the composition of the ballet, tained I had re an orchestra of the same size as and the original, the various societies which organized concerts had such rarely large ensembles at their disposal. In this second version I added certain portions and cut out which had others been in the first, and I considerably decreased the orchestra without upsetting the equilibrium instrumental of the groups, so as to reduce the number needed for its performance to about sixty lusicians.1o More recently, Stravinsky has prepared a third version, retaining the more economical orchestration of the second suite and restoring the Adagio and Scherzo movements of the first. 1 4 The instrumental concept predominating in the Fire-Bird is that which dominates nearly all the music of the 19th and the of opening of the 20th century: "The orchestra is considered as a very complex apparatus, a sort of giant organ whose stops are constituted by the diverse groups of instruments."1 5 However, in this ballet Stravinsky pushes to the limits the orchestral concepts of his forerunners

13Igor Stravinsky, Stravinsks: An Autobiography, p. 123. 14 wen, op. cit., p. 403.

l&Boris de Schloezer, "Stravinsky; His Technique" Dial XXXVI, (January , 1929) , p. -12. and shows himself as the most brilliant disciple of his teacher, imsky-Korsakotf.16

The piano is used chiefly for coloration in The Fire

Bird, and in the second orchestral suite it appears only in the first and third parts. The piano is used very little as a melodic instrument, which, perhaps, explains why

travinsky chose to omit it altogether from "The Princesses'

Horovod" and the "Berceuse and. Finale." When taken as a whole, the orchestra of The Fire-Bird does not yet contain the "instrumental" principle of Stravinsky's orchestra as it was to develop later, ardthe piano was still considered out of character in a slow cantabile movement. "Here the instruments try to combine into a blended., compound sonority rather than to contrast either individually or in groups."17

The music of "Te Fire-Bird's Dance" has no melody in the ordinary sense of the word but :consists of rapid figur ation upon a harmonic scheme Which is still based upon the thirds18 in their inversion as sixths, and upon the augmented

.Ibii. 1 7 Tansman, 2;. cit., p. 101. 18ttravin&ky sought to extract all the magical element o The Fire--Bird from the implications of one chromatic intrv;Fal:ThTumented fourth or diminished fifth, iich divides the octave into two equal halves and is thus the furthest removed from a diatonic interval, except in te Lydian mode which Stravinsky does not employ. From this interval $travinsky extracted thirds which become the basis for all the music associated with the Fire-Bird. (vanis, op. 2it. , pp. 9-10.) 22

fourth, now enharmonically a diminished fi fth."19 Stravinsky scored a tremolo of two diminished fifths in the piano part from "The Fire-Bird's Dance":

Fig. 8.--The Fire-Bird, "The Fire-Bird's Dance," mm. 13-14,

Stravinsky utilized the pianistic devices of the arpeg gio and glissando in "The Fire-Bird's Lance." Figure 9 illustrates the use of a white-key glissando in the right hand against an arpeggiated figure in the left hand;

Fig. 9 .--The Fire-Bird, "The Fire-Bird's Dance," m. 27.

The arpeggios of Figure 10 occur several times during the dance and are scored against ascending patterns in the wood-winds:

19Ii, ep.1. N I

II -- ~

a

Fig. 10.--The iFire-Bird, "The Fire-Bird's Dance," M. 29.

Rapid figuration in the orchestra (the piano included) characterizes this dance. (See Fig. 12, p. 24.)

It is the "Infernal Dance of Kastchei" that points to

Stravinsky' s future use of the orchestra while continuing the style of the Feu d'Artiice.2 0 The piano is used in the beginning of this dance to accentuate short snap chords occur which at various intervals (see Fig. 1.3, p. 25). The dance's principal theme, which was first heard in bassoon and horn, is taken up by piano

S smpe

Fig. 1l.--T Fire-Bisd, Infernal Dance of Ktas + h lm. ?7- "8.

210 Tansmmn., ci.t, .h101 24

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F1AVrT PICOOL ZZ29 . .

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4, tiff, _ c

IL a c fl el The theme of Figure 11, syncopated in a /4 meter, is

irst double 1 with flute; then the piano, playing fifths,

is doubled with flute, Piccolo, and harp; and later, the piano, playing doubled octaves, is combined with strings and flute (see Fig. 5, p. 27). atravins even uses piano and xylophone together to add color:

hIInk

t wo*______r ______

h ti

..

Fig. 14.--2>ie Fire-Bird, "Infernal Dance of Kastchei, mm. 70--7.

color The device of the glissando, which was also used in the "ance o the Fire-Bird," is again employed, but here in copbna ion with the harp and against a very full orchestra. Piano glissandi. in this daice invariably begin wi th an octave

1 2 Accordin to Tanspan: When Stravinsky 'doubles' one instrument with another, it is-not to create a blend, but be cause this doubling results in the creation of a particular sonority, created by the 'c-operation' of two instruments, and not by their fusionA (Tansan, op . _cit. , p. .105.) 27

s lkir III, w.

> r I -

LiL.tLrt

A I 0. - - e

1; - I

S

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TT--_

w-v - i IF:-

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- -- - -

UL~ t ~ I ~A4~ - - ______-~ - --I

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ritz ______

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mm. 67-70. 28

played by the left hand, and the ascending glissando in

the right hand is "caught" at te top by a chord played by the left hand:

%Iissando des

N Woe che__ _ _

rn r

4Fi. l6.--The Fire-Bird, "Infernal Dance of K -stchei, mm. 129-130.

str vi.sy frequently used blocked chords in the last

art e this dance. Piano and harp are doubled to play a

chord punotuating the principal theme, which is played by

the violins (see ig. 18, p. 29). The chord first consists

of three notes as in Figure 18, but every four measures a

note is added one fifth below until it appears:

1, C

Fi. 17.--The Fire-Bird, "In ernal Dance of Kastchei, i. 18 . *u_. 29

r c _w Fp.~ - __FcPAe

v M.gr q suM. - 7F- bii

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V II V. Gill ad t a

17'7-18u . 2etrou chka

The second of his orchestral works in which Stravinsky used the piano was Petrouch'a, in which the piano plays a quasi-solo role. In speaking of this work Stravinsky said:

Before tackling the Sacre du jrinteups, which would be a long and difficult task, I wanted to re fresh myself by composing an orchestral piece in which the piano would play the most important part-~a sort of 4Konzertstic k. In composing the music, I had in my nind a distinct picture of a puppet, suddenly en dowed with life, exasperating the patience of the orchestra with diabolical cascades of arpeggios. The orchestra in turn retaliates with menacing trumpet blasts. The outcome is a terrific noise which reaches its climax and ends in the sovrowful and querulous collapse of the poor puppet.

Once the title was settled, a second movement was planned--a "Russian Dance in CU--but before a third could be added, Diashilev visited Stravinsky at Qlarens and was

so pleased ith the piece that he persuaded 5travinsky to

develop the theme of the puppet's offerings and make it into

a whole ballet. Together with the composer, Jiaghilev worked

out the general lines of a scenario, setting the action in a Russian fair. Petrouch.a was introduced by the Ballet Russe

in Paris on June 13, 1911. Karsavina and %ijinsy were the principal dancers, Benois designed the scenery, Fokine pre

pared the choreography, and Pierre onteux conducted.

Ytraviisky, op. cit., p. 48.

2ai.td Ewen, The Complete oo of 20th Cnjtury lus ic, p. 404. 31

From the purely musical point of view, two elements are of interest in Petrouchka: first the cultivation of street tunes, which until taen had never been admitted into decent musical company"; and next Stravinsky's method of orchestration, in which he broke with romantic instrumentation. 2 4 According to Tansman:

The appearance of etrouchka determined Stravinsky's orchestral conception. He returns here to the classical attitude, restoring to the timbre a plastic function related to the melodic idea--that is to say, making it above all the "sonorous bearer" of a theme, instead of a color to be chemically integrated into a many-colored palette, by means of a linear pattern.

The timbre is extracted, and no longer assimilated. The timbre of each instrument is emphasized at the ex pense of the "orchestral" timbre, of sonority in itself and for its own sake. So that the instrumental timbre in its clear-cut individuality, now puts the orchestra tion at the service of the musical whole. The problem was to restore to the theme its concrete value, its plastic relief, presented raw, instead of submerging it in an overladen atmosphere.

From Petrouchka on, this instrumental conception makes itself more and more evident, throughout a whole series of works for chamber orchestras that vary in their composition with each work, and finally, it re sults in the present linear idiom, where groups tend to oppose one another by their particular timbres, instead of forming a new and unifying sonority by their com bination.

Since Petrouchka (and Petrouchka included, despite the opinion prevalent with regard to its musical con ception), Stravinsky has sacrificed every element of picturesqueness and virtuosity in the use of the orches tral palette to the direct, raw, and logical timbre and to the individual virtuosity of the instruments, thus arriving in es Noces, l'Listoire du Solat, and

2 4 Leonid Sabaneyeff, Modern Russian Composers, p. 78. Le Renard, at a final statement of his doctrine. Despite Te current belief to the contrary, neither the Rite nor Ietro chka is colorful or picturesque in its orches ration, and the works that follow them are even less so. The superficial picturesqueness in Petrouchkca is tiiefly due to the contrast of raw timbres, each one of which follows its own musical path, refusing to participate in a general mixture, and retaining its clear-cut color. "

Petrouchka is divided into four tableaux, of which the original "Tonzertst ck" provides the music for the second tableau. The Russian Dance in CO concludes the first tab leau. The use of the piano in the other sections of the ballet is closer to the style of _The Fire-Bird than to the solo role which was the original intention. White states:

The score of Petrouchka has one big weakness- the casual way in wich the piano, which played a pre dominantly concertant role in the original conception and which is indissolubly linked with the portrayal of Petrouchka's character in the "Russian Dance" and through out Tableau II, is almost completely ignored in the last two tableaux. It even has no comment make when Petrouchka dies miserably in the snow.

In the revised 1947 version of etrouchka, travins4 has lmost completely re-written the piano part with the ex ception of the 1Russian Dance" ana Tableau II. In reducing the number of instruments required for performance, Stravinsky has added several doublings in the piano. Near the beginning of Tableau I, the piano doubles flute, piccolo, and oboe in octaves:

25Tansman, op.'cit., pp. 101-104.

26Eric White, Stravinsy; a Critical Survey, p. 35. -I-,

t ______f

, 1-1

Fig.19l.--Pe trouchka, Tableau I, mm. 26-28.

In the same passage from the original edition, the piano plays an ostinato 2 7 figure (see Fi. 20, p. 4). Immediately following this passage, the orchestra plays an adaptation of a Russian folk-song, and travinsky employs what Bauer calls p0lyhrfOny, i.e., the simultaneous use of complete chords 2 8 from different keys. In the revised edition the piano

doubles the melody in parallel octaves and chords:

Arthur Berger states: "One of the chief devices Str vi o. sky's style during his first decade was the ostinato, which we already find in the 'Berceuse' from The Fire-Bird. The ostinato is a persistent, ' stinately' reieated tary fragmen pattern, without any change of pitch in the repetitions. For tribal man it is simply the beat ing of the drum. comes It be ore elaborate when instead of equal notes, gives the drum us a rhythmic figure. Its function is to induce hypno tic excitement." (Arthur Berger, "Music for the Ballet,?i rtravinsky in the Theatre, pp. 45-48.) 2 8 arion Bauer, 20th Century music, p'. 191. 34

s.

5 7~ 7

I I

I d U 1 i11 Is

1_. e- A

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Fig. 20.--Petrouchka, Tableau I, mm. 23-27. 35

10 A0. #A

i 8

- +- 4

/T

Fig.2i.--Petrouchka , jTableau i, mm. 42-.51,

In the revised. version the piano is> used. in ~playing

marcato chords which 4 ~~~---Y-- 7 occur at intervals throughout the

- -0 first tableau, although-D the metre and oublings vary:

f do Lp ______'SI \~k~ L L~ ~ ti0 t

/1 ______S

M 4 aa MM

Tf 'ib.+MixmeAm " "1-ax .sYa' 4 } .c IftynA,.. wrwM". )

Fig. 22.--Petrouchka, Tableau I, mm. 74-82.

The "Russian Dance in C,1 Which concludes the first

tableau, was composed before the music which precedes it

in the ballet, and was part of the original suite which was intended for piano solo with orchestra. The entire piece has a very percussive character, as can be seen in the heavy chords at the beginni of the dance (see Fi-g. 24,

p. 37) . Stravinsky used very marked rhythmic patterns through

out the dance. After the statement of the first theme, a new melody appears 1 ish is accompanied by a pattern of

single notes and chords alternated in the piano:

Fig. 2. -- Pe troucha , Tableau I ("RusJian Dance "), mu. 9 -Il. -PYCURAR's DANSE RUSSE.

flST?7U1KA, tA n) t1 SAfLPVMA flY$*50 VCTAWTC I UAA SP 1UNK,"W VjXUflIW Sacs"'. .flnccg4 LI SCM I ? A IA WIlS aNSrI *177*" /A4Y3+35 A ANdtIV AE0f D 703fI? T SuelS. )Aegro gusto J.,i

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,}; ;

g 4 -erouc a , Tableau I ( Rusi an Drnie , m >., -. After a re-statement of the first theme, a new melody

appears in oboe and is later played by the piano:

limp

1Ik 1 IL. I ______

Fig. 25.--Petrouchka, Tableau I (tRussian Dance"), 59-60.

The melody of Figure 25 is played as a solo against a

rather thin orchestration; and, after the first theme is re

stated as a solo in the piano, the piano takes a pattern which continues to the end of the dance:

3 y,

N , .... ( ..

( ~tI~ - -# ______. AOL t

Fig. 26.--Petrouchka, Tableau I ("Russian Dance"), mm. 104-106. 39

The second. tableau of Petrouch1 , entitled "In Petrouchkas House, " was the original aonzertdlck"~tor piano arnd orch estra which stravinsky given had the name "Petrouchka' s Cry.t29 Evans surmises that Stravinsky's experience with the aug

mented fourth in The Fire-Bird left him with an impression that there remained unexplored possibilities in ih is interval,

for in this work we find him fascinated by the bitonal effect

of the superimposed common chords of C-major and F-sharp major.

After a short introductory phrase, the dual nature of the pup pet ietrouchka is asserted in the clarinets:

rf (f

.,,... r~ k 4

Fig. 2 7 .--Ptrouchka, Tableau II, nm. 9-11.

This combination of tones is now known as the "Petrouchka chord," although nine years earlier Ravel had used a similar device in his Jeuwx dEau:

29 Aaexandre Benois, eRinescnces of the Russian Ballet, 324.ap v.

3 Evans , . it. . 40

AL JE I J. Al

'Pip wowWAN=

I 4rl 11 UJI 11, TO B

4

Fig. 28.--Ravel, Jeux diEau, M. 72.

travinskyts discovery was to substitute for alternation (as in Fig. 28), simlultaneity of attack (as in Fig. 27).3 1

Around this device plus a renewal of the pianistic style of alternation of black and white notes (a style coear to the virtuosity o f Franz Liszt) , Stravinsky built an entire move ment.

The device of Figure 27, wiich first appeared in the clarinets, later occurs in the piano as a G-major chord super imposed against an F-sharp major chord:

... J L . _..m K

Fig. 29.--Petrouchka Tableau II mm. 19-20.

31 Tansman, op. cit., p. 166. 41

In a passage of. alterna ti on of black an: vhite notes

Stravinsky superimposes first a G-ma jor chord and then a

C-major chord against an F-sharp major chord in the left hnd:

______

a ______(IRE 72

Fig. . -- Petro uchka, Tableau II, mm. 27-28.

After a passage exploiting the device of alternation of black and white notes, a tremolo of tie so called 'Ietrou cka

Cho" accompanies a kind of challenging fanfare "in which

Stravinsky curses his evil geniu.s--the Sowm an: 3

32Evans, Ci t.,. . 42

Furi .PtTIx XuTuvrn.

71.1

71 U

06.1 Da iima iPl C -165

CI..

CIU

Far I

--

bucos (Mhive) r,r A AM envrs

C.r I

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VI - d- T

detaa

OWN3 51 Fig. 31.--Petrouchka, Tableau II, mm. 33-36. 43

The middle section of Tableau II is composed of a little dance:

Pr

b ..

... f - 3=wr +.. f.~ir w . " . la9o I A fp- I F~'J -- .'- r4

pSQ.

F I I I '1 I'

Fig. 32. -- Pe trouchka, Tableau II, rn. 51-53.

This dance is followed by an Allegro rhich is charac terized by awkward skips in the piano:

r.

S

a Ar #' t

F. ( L -V

( IIIIMIMI IIIM11l II III '

w!M MW

rrlll

~

dl- - 7 41

LJLJ V

Fig. 33.--PetrouChka, Tableau II, mm. 76-77.

The remainder of Tableau II is based on devices from the first part of the tableau. After the second tableau, the piano appears only at various intervals in Petroucnka.

However, in the revised edition of 1947, Stravinsky has 44

added several doublings and gives passages to the piano which were originally played by other instrumerts. The following passage in repeated notes, which originally appeared in ite

harp part, is played by the piano in the revised edition:

(

1I

Fig. 34. - -Peruchka, Tableau III ("et-urses Dance")

The score of the revised edition calls for only one harp as compared to two in the original bal.et. In dispensingvwith

one o the harps, Stravinsky has added several parts for the piano. In the revise edi tion -he pian is used to give rhyth

mic drive to a oelo dyin oboe an. English horn So IMF & 1I bow I

if Ago

."

i «y.

afti, ill-- m wo mots, Pia

~ ~ ~ ~ A~ - 0~ I dI I 4 - A f}LI

Venor , mm. i 1 . The following passage, which appeared in campanel1i in

the or iginal score, has also been given to te piano in the 1947 edition:

M11 ^!wM miMlt fir w w r nw wwx m r aw..M .ne r4i sir exr . + v ar w# rr wr !r er v~ y,

" einL^^. t w

r y, t444HeRi4Feta i

3. a.

d

_; - .. ______IW_ Ado

~d ~7 1 r AW 04 ______

_ A

L.

Fig. 36.--Petro chka, Tableau IV ("The Shrove-Tide Fair") mm. 14-15.

Near the end of "The Dance of the Coachmen" Stravinsky has added a device employing alternation of hands in the re vises edition that continues for thirty-eight measures:

th 4t r LI ~ W %L- MR919 A via m r4- AAMFI ... _,.., VF I I-

I 4

Fig. 37.--Petrouchka, Tableau IV ("Dance of the Coach men"), mm. 81-82.

The piano appears in only one passage from "The Masque ra ers" in the original ballet (see Fig. 38, p. 46). However, the following passage in alternating octaves and sevenths, 46

.. "as - aa* Aa~* - PI.. IU!!I!

A - - - I I - - - I - - Cf. Ii ______~li~f -I ~ 1 I."4L .T ccf n mr' P- L t

1~ -~ GWLDn .

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- - A P - - - ___._._......

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rl I P9 12 12

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V.a.

VIei.

Fig. 38.--Petrouchka, Tableau IV (*Masqueraders"), tin. 47-51.

_ ...... _._.-...... -...... 'MA. 47

which was originally given to harp and celesta, is played by harp and piano in the revised edition:

j, t

dot m wmm .--- I

5 " ~ +-- . .v-p .. ,... s . . ,. ,.H .... .,...... _. .m,.,.. -. ,... .u-.e~d , . .,. ., -<,a ...... x d, ,rx.,rr:...... ,.:.rw,.: "-^.vaee n~twaewwn.., .M .- "- .« rA"

Rom iml low"

I Wt V -1 a 4 4111- obi J A i ty

Fig. 39.--Petrofchka, Tableau IV ("Masqueraders"), nm. 1-2.

The following passage from "The Shuffle", which was scored for clarinet against xylophone glissandi in the original score,

is played by clarinet, playing legato, and piano, playing sta

cato, in the revised edition:

C ts.fl

Fig. 4.--Petrou cka, Tableau IV (f"The huff[ e") im. 12-1. 48

In the revised edition a concert ending, in which the

piano plays a tremolo of the superimposed "Petrouchka chord,"

is added to the suite. aith the final drop from 2 to F-sharp "is closed the story of retrouchka, and also a chapter of Stravins's development, that which is concerned with the in terval of the augmented fourth or diminish ed fifth. "

te Chant du Rosino T he symphonic poem Leehant du sinol h asemerged

in three different musical forms. It originated as an opera,

and later it was transformed into a ballet for the Diaghilev

rep ertory. Subsequently it was revampe d into the symphonic

form in which it is best known today. The fairy tale of

Hans Christian Andersen appealed to Stravinsky as early as

1909, when he planned a "lyric tale in three acts" to a

libretto by his friend Mitusov, and he actually completed

the entire first act. Not until 1914, however, was he able

to complete the opera, and it was introduced at the Paris Opera on ay 26 of that year.34

Diaghilev suggested to Ntravinsky the conversion of

the opera into a ballet, and for this purpose the composer

adapted the last two acts into an integrated orchestral t piece which could be u ilized as the musical background for

4 pe vas , p. cit., 44. twen, op. cit.* , p. 407. 49

a ballet sequence. It was as a symphonic poem that this version was first heard in Paris on December 16, 1917, with Ernest Ansermet conducting. As a ballet, it was introduced by the Ballet tusse in Paris on February 2, 1920.35

The chief musical problem in re-writing _fe ihtingale as a symphonic piece was to provide an instrumental equivalent tor the vocal apparatus of the opeX . The orchestration was

lightened in texture to enable not only solo instruments but also groups of instruments to be treated on concertante 3 6 lines. travinsl4 states:

In the symphonic poem, Le Chant du AossinoI, written for an orchestra of ordinary ize,Itreated the latter more as a chamber orchestra, and laid stress on th e concertante side, not only of the various solo instruments, but also gave this role to whole groups of instruments. This orchestral treatment was well adapted to music full of cadenzas, vocalises, and melis ata fall kinds, and in which tutti were the exception. 3 7 The orchestration of Le Chant du Rossi&nol is extremely colorful, the harmonies employed giving it an oriental quality.

35Ibid.

In the 18th Century this name was given to a piece music of for orchestra in ich there were parts for ments, solo instru and also to compositions for several solo without instruments orchestra. In the present day the word is used an adjective, chiefly as prominent solo instrumental parts being of as spoken concertante parts," and a work said to be "in certante the con style" when it affords opportunities for brilliant display of the ,powers of the performers. ("Concertanteu Groves' ctonary hof_ Music, p. 692. ) 3 7 'travinsiw, op cit., p. 132. This coloration is evident in the piano part, which is fall of Jlissandi, tremolos, and arpegg)ioz (see Fig. 4, p. 51). Parallel fourths in the piano part add to the oriental quality of the overall sound:

Fig. 41.--Le Chant du ,s signol, mm. 33-35

Se passage in Figure 42 is played entirely on the black keys, giving it a pentatonic 8 armonization:

~I.16

II Y 2 ~ 1 A' ______

______

f ______1 _ _ _ C_1---L-7 Fig. 42.--Ie Chant du Rossignol, mm. 151-153.

scale which consists of five different tones, te octave being already reached at the sixth degree. '[aeoreti cally th ere exists an infinite variety of such scales. The ancient Chinese construed it as a succession of fifths and fourth s: f- c'g-d.T -a. (Willi Apel, Harvard Dictionary of usiic, pp. 563-564.W) hen taken by step and shared Notes correspond to the black keys of the piano: fgg, ag1, ct, and d.. 51

Strawinsky Ir p, oTp mmmili C .i.at du Rossignol IlcInsa coIoBbJA poem. symphonique pour orebetre ofmsEqsouesas nous Aa opno.,pe

Presto ( . * s) -

plaroeue _ -_

in-lramutto La ____ _ -

4, U a

- -z

J '

.a I

'no. -

TiA - stravinszy also made considerable use o the interval

of the per ect fifth in e Chant du Rossiol. Fiur e 44

illustrates parallel. writing in fifths from the piano part:

1*

Fig. 44.--Le Chant du Ros iolM. 130-1310

Stravinsky also scored tremolos of unison, open fifths,

and octaves in the piano (see Fig. 46, p. t3). Figure 45 illustrates tremolos of unison and octave:

I ______

1~it ' It f

___IAIAaw

:t i

Fig. 45.--ILe Chant du R i om sm.l9198-2O4. VAN

FNg, 11 tagi

.- ~ i: ______

cwem

inem

a

s

& I~i

ip

I IN Iiion I

VmI I i

I -==~r-~. -~

. .I ,v~--~ -

7 :'C - ut - -~ -uz i e In the sixth and seventh measures of Figure 45 the piano play s parallel fif t xhichhs progress by intervals of fifths.

These fifths are doubled in low strings.

3travinsky achieves an interesting effect in the piano by scoring sorzando chords una corda:

r _ '_' I t v' 14 9 461

H ~4r r'j9t

Una corda

Fig. 47.--Le Chant du Rossignol, mm. 294-295.

Stravinsky experimented further with bitonality in this work, as is illustrated in Figure 48 in which piano, celesta, and harp have the key signature of C-major, ar the remaining instruments have the signature of A-major (see Fig. 48, p. 55).

However, the Chinese pentatonic scale is used in flute, celesta, and harp, and the piano is the only instrument that actually plays in C. The play of sonorities still dominates the orches tration of Le Chant du Ros ignol, and with this work "the com poser makes his last sacrifice to the God Orchestra.a$9

39Schloezer, o. cit. , p. 18. -A __ jJi L_ ' " _. . I

F' ry Y *L =_ F----=-- --2 I-.-fl _ A

-- F - - - a - -

ptasa li shmik

-T Arpa ii

_ - -

a :fri

I (d- I_

es-r

AUX r'' 0 - ~m PSI tilt s

Fig. 40.- ' hatx 3i , n 344-*350. vHAtLTAR III

AI tzY' USE OF TE IAN IN1 T1E ORCzHEST S

OF HIS "NE0-CLASSIC"1 PERIOD

new Stravinsky appeared after World War I. He broke

completely with his Russian past and with his former primi

tivism and revolutionary tendencies. "He v rked systematically

toward the elimination of non-essentials, achieving with each element, one after another, a classic stylizati on.02 In speak inv o classical music Fillmore says:

In "classical music, fo r is first and emotional content subordinate; in "romantic" music, content is first and form subordinate. The classical idea is pre dominantly an intellectual one. Its products are charac terized by clearness of thought, by completeness and symmetry, by harmonious proportion, by simplicity and

lDiagilev had collected a number of unfinished Pergolesi manuscripts during his visits to Italy and he presented them to Stravinsky who worked them into a score for a ballet. The argument of the ballet was adapted from a manuscript dating from 1700, which Diaghilev had found at maples and which con tained a number of 4 commedia dell'arte& sketches featuring " ulcinella,U" the traditional hero of the popular stage. The younger generation of composers was enchanted by this ballet, Pulcinella, and in the next few years there was an outbreak of so-called "neo-classical" works, "too many of which, alas! were merely undistinguished pastiches of eighteenth century music, liberally besprinkled with 'wrong' notes and decked out with blatant orchestral colors." (Eric White, ,travinsky; a Critical urvey, pp. 85-89.)

Abraham Skulsky, "ound is the Defining Element," vMusioal Aerica, IXII (February, 1952), p. 159. repose. Classical works, whether musical or literary, are positive, clear, finished. 0

some critics claim that travins 's resumption of

classical principles involves an unnatural retrogression to an era witth which we have no vital connection. But, according to Berger, those principles tare related to a

permanent aspect of good music and are determined by the

nature of tones. They are not peculiar to the 18th century,

but merely happened to be most thoroughly understood in

that century, " Berger also contends that if we confine ourselves to the music for his ballets, we can trace

Stravinsky's entire growth and resolve the controversial issue of his role as classicist:

For although his conversion to classicism is often described as arbitrary and sudden, the ballets show from the start a classical leaning in their control, economy, clarification of instrumental and harmonic texture, and in their rhythmic definiteness.

Stravinsky seems always to have understood that the effort needed to perceive action, decor and mu si c simultaneously can be greatly lightened by reducing density in the sound. And still in another way the ballet has been decisive to his classicism, by stimu lating the tendency to model patterns on bodily motions. In him this tendency takes the place of the romantic preoccupation with emotion. 0

3John Fillmore, A Histor of Pianoforte Music, [. 96. 4 Arthur Berger, "The Stravinsky Panorama," ctravinsky (edited by Corle), p.l13. 5 Arthur Berger, "Music for the Ballet," 4travinsky in tThea tre, p. 41. Stravinsky gradually progressed toward an ideal that 4 can be defined as the elimination from his music of all

th t struck him as unessential or out of place, beginning 6 with expression." he is opposed above all to the pseudo expressive, ind ividualistic, and imitative concept tion of music as meaning "something outside itself" (an idea that

developed under the influence of Wagner and the post

Wagnerians)2. Although Stravinsky, with his teacher Rimsky Korsakoff, was an admirer of Wagner during his early period, he later became anti-Wagnerian and in his musical Poetics states:

Whether we admit it or not, the Wagnerian drama reveals continual bombast. Its brilliant improvisations inflate the symphony beyond all proportion and give it less real substance than the invention, at once modest and aristocratic, that blossoms forth on every page of Verdi.

Richard Wagner's music is more improvised than con structed, in the specific musical sense. Arias, ensembles, and their reciprocal relationships in the structure of an opera confer upon the whole work a coherence that is merely the external and visible manifestation of an in ternal and profound order. 8 0 travinsky has tried to prove by the example of his work that music should be self-sufficient, that its significance lies in self-realization and in the strict observance of its

MAichael Calvocoressi, A urvey of Russian Music, p. 89. 7 Alexandre Tansman, Igor Stravinsky, p. 66. 8 Igor Stravinsky, Poetics of lusic in the Form of Six Lessons, pp. 61-62. 59

traditional evolution as an independent art, whose function

is "to organize the concrete material of sound and to make it an absolute and abstract work of art by organizing its evolu tion through time." 9 In speaking of romantic instrumentation travinsky says

The fundamental error of regarding instrumentation as something extrinsic from the music for which it exists, coupled with the unhealthy greed for orchestral opulence of today, has corrupted the judgment of the public, and they, oeing impressed by the immediate effect of tone color, can no longer solve the problem of whether it is intrinsic in mus ic or s imply "padding." Orchestration has become a source of enjoyment independent of the music, and the time has urely come to put things in their proper places. We have had enough of this orchestral dappling and these thick sonorities; one is tired of all this over feeding, which deforms the entity of the instrumental element by swelling it out of all proportion and giving it an existence of its own. There is a great deal of re education to be accomplished in this field. 1 0

In Stravinsky s wore the element of sound texture- which many composers regard as secondary, but which attains unprecedented importance with Stravinsky--is completely variable. In travinnky's music, melody and sound texture operate in parallel fashion, generally speaking, a change in character from Work to work, being purely functions of the subject matter. ckulsky states:

The practice of the romantic period allotted to sound texture a non-functional role; each composer made his own concept of sonority a constant feature of his Work, and thus made it appear to be part of his personal

Tanisan, on. cit., p. b6.

0 Igor Stravinsky, ktravnsky; an iutobiorapj, pp. 186- 60

language. Stravinsky rejected this aesthetic, giving to sound texture a functional role and taking away from it the appearance of personal and continuous thought. With him, sound texture becomes the bridge between sub ject matter and musical realization.

It is the essence of Stravinsky's aesthetic that romantic expressive devices are replaced by variations of sound texture. The role played by sound texture can already be observed in three early works--Petrouchka, Le Sacre du Printemps, and Le ossignol. In each of these works the melodic, rhythmic-,and harmonic characteristics are unmistakably those of one composer. The sound tex ture, however, differs from work to work, and is purely a function of the subject matter. It is impossible to imagine Petrouchka with the sound texture of Le Sacre du Printemps or .e Sacre du Brintemps with that of he

The thematic element is not a motive of inspiration for

Stravinsky, but a point of departure for his work. This dis

tinction is important for the fact that the first process is typical of the romantic composer, and the other was

the method of the classical composer. 1 2 Stravinsy points

out that "classicism itself was characterized, not in the least by its technical processes which were themselves sub ject to modification from period to period, but rather by its constructive values.....Classical music--true classical music- claimed musical form as its basic substance.f1

In 1916, 1917, and 1918 with Renard, Les Noces, and

L'histoire du Soldat, Stravinsky returned to the instrumental

llSkulsky, ._cit., p. 27. 1 2 Adolfo Salazar, music in Our Time, p. 280.

13white, op. cit., p. 91. 61

conceptions applied by him for the first time in Yetrouchia, 1 4 now developing them by reducing the elaiets of the orchestra.

This reduction is extremely significant; it is the direct consequence of his treating the orchestra as an assembly in which each instrument or group of instruments executes its part in a polyphonic structure. "At the limit of this system one finds the quatuor, or in a more general way, chamber music. For wiat essentially differentiates diamber music from orchestra properly so called, is not only the number of instruments, but their modus of use. 15

It is extremely significant that the instrumentation of Lis'toire du oldat, and after that the whole concep tion of the chamber orchestra, owed its origin above all to circumstance) of a purely material and even financial na t ure. Tansman sates:

The idea was to compose a work that might be trans ported from place to place and be given on an improvised stage in the course of a tour. Stravinsky had to manage with extremely limited means, especially'for the musical part of the work. The choice of instrumentation was novel at the time, but restrictions of an economic nature made it necessary: its origin was not at all capricious or eccentric' it was the result of a clear choice of limitations.6

14The instrumentation of etrouchwa is discussed on page 31 of this thesis. 15Boris de Schloezer, "Stravinsky; His Technique," Dial, LWVI (January, 1929), 18.

1 Tansman, oD. ci t., pp. 11-12. However, in cases when the difficulty is not external in oigin and independent of his choice, stravinsky imposes the problem of restraint upon himself, whether it be aesthetic or orchestral, harmonic or tonal. In his Poetics of Music

Str avinsc-y states:

MY freedom consists in my moving about within the narrow frame that I have assigned myself for e ach one of my undertakings. I shall go even further: my free dom will be so much the greater and more meaningful the more narrowly I limit my field of action and the more surround myself with obstacles. Whatever diminishes constraint, diminishes strength. The more constraints one imposes, the more one frees one's self of the chains that shackle the spirit.1 7

-travinsl returned to the nomial sized symphony orches tra in Oedikus ex (1927) for the first time since Le Chant du Rossignol, but his instrumentation still conforms to the

"concertante" style initiated in the latter work, and orches tral t tutti" are rare. 1 8

symphony of Psalms Stravinsky composed the Symphoiy of Psalms to commemo rate the fiftieth anniversary of the Boston Symphony Orches tra, although it was introduced in Brussels on December 13,

1930, with Ernest Ansermet conducting the Brussels Philharmonic.

One week later Serge Koussevitzky conducted it in Boston.

1 7 Igor Stravinsky, Poetics of Music in the Fon of Six > 0ssons, pp. 80-81.

18hite, op. cit., p. 119. 63

This is 5travinskyt most reverent music, and verses from

three of the psalms make up the text, which is from the 9 Vulgate.1 After the introduction of Stravinsky's Srscio

and juphony of Psalms in Boston, Paul Rosenfeld wrote:

Something besides two new pieces was discovered, and much that was more pleasing than these represen tative works. There in Symphony Hall, it was apparent that the man was dual, and two Stravinsky's existed: a fact immensely joyful to all concerned for the great future of music.

Previously there had been merely a single Stravinsky; and that one something of a disappointment. He had begun so brilliantly, with a way of saying new things which had gradually become a way of saying relatively little with conspicuous elegance.

The experience in Boston did not reverse this judg ment of 4travinsky's neo-classic works. The capriccio, in fact, was too similar to them to do anything but strengthen the picture of decadence. But the other new piece, e Symp.ony of Psalms, on verses from the Vulgate, affirmed the earlier picture. It is not only the livliest music Stravinsky has produced since the ymhonies for Wind Instruments, it is the old Stravinsky of th rorust lFT~dof the big ballets towering like red girders in the sky of impressionistic music. 2 0

The orchestration of the ymphony of salms is extra

ordinary. It is scored for cellos, basses, choirs of flutes, oboes, trumpets, horns, and two pianos, and here, Stravinsky

even dispenses with the upper strings. The stimulating instru" mentation of this woir is handled with Stravinsky's customary

1 9 David Ewen, The Complete Book of 20th Centu u p. 413.

20Paul Rosenfeld, "The Two Stravinskys," The lew Republic, IVI (Feb. 18, 1931), 20-21. 64

skill and artistry. he forgets that the orchestra which he

has abandoned is the normal one and "feels relief rather than regret at the complete lack of violins and violas. The massed reediness of so many oboes and bassoons and the absence of

clarinets emphasize the lean and spare quality of the mus ic." 2 1

In speaking of the sound material of the 9ytphony, travinsky said:

y idea was that my symphony should be a work with great contrapuntal development, and for that it was necessary to increase the media at my disposal. I finally decided on a choral and instrumental ensemble in which the two elements should be on an equal footing, neither of them outweighing the other. In this instance my point of view as to the mutual relationship of the vocal and instrumental sections coincided with that of the masters of contrapuntal music, who also treated them as equals, and neither reduced the role of the choruses to that of a homophonous chant nor the function of the instrumental ensemble to that of an accompani ment. 2 2

Stravinsky uses the two pianos from the very beginning

of the symphony. The orchestral introduction, with its slightly

stiff arabesques played by oboes and bassoons, is punctuated

several times by a short snap chord of E-minor (see Fig. 49, p. 65). These arabesques later appear in the pianos as in Figure 50:

21Walte r Piston, "Stra vinsky as Psalmist," Modern Music, VIII (January-February, 1931), 43.

Z2Igor Stravinsky, Stravinsky; an Autobiography, p. 254. 65

SYMP14OI4E bE PSAUIES

i WO~ Tempo a= 92 2

--

a, iI lal ~kC

~4 _

_ _-

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m N M.rl1 Edia.n Rau a. de N saqea0 w.re., .0 . . .,I. . K V. d...... *t.'"9U ...... tsr wr e.. ., ..

Fig. 4 9 .--Symphony of Psalms, First Movement, mm. 1-5. 66

Pianv I ih

. essa _ _ - . .w

Piano I Una codatcec co)

iD

ijoo

Fig. 5O.-- ymphon of Psalms, First Movement, mm. 15-20. 67

Figure 50 illustrates 4travinsky's fondness for doubling one instrument playing legato with another playing staccato.

In such cases ne desires the effect not of two instruments, but of one instrument with a double emission.2 3 These ara

besues appear in their final fon in Pigure &L (see Fig. 51, p. 68). In this illustration the second piano plays the original arabesque pattern, and the first piano plays the

same notes as the second piano although in octaves and in augmentation. The latter device is an important element of variety in fugal writing. "It is usually introduced towards the end of the fugue, and thus used, bestows a character of grandeur. "4

In Figure 52, from the end of the first movement, the first piano plays an accompaniment of interlinked ascending

thirds against octaves in the second piano. (see Fig. 52, p. 69.)

Thsimn, op. cit., p. 105.

2 4 illi Ap el, Augmentation and Diminuti on, Harvard Dictionary of Music , p. 62. 68

ir f --

1 -'

-- w a - -

Trb------pie a

I, - -

Fig 5.-Smhn of Psams Firs Mvment mm 57

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Fig. 52. o Psams, Fir st movement, mm. 72-73.

According to White, Stravinsky used the device of inter

linked Thirds as a means of uniying the thematic material in

each of the yrphony's three movements. The use of this device helps to confirm the strong feeling of internal unity that p.

2 5 vades the whole wor k.

AIthough the symphony is written in three move ments, it

is play e d pause, without aid th e pianos ar e omitte d from the

e, C. Whit ti«.,p +.a135 70

second movement. This movement is an instrumental Thgue base

o t interlinked thirds wi th th e second third inverted. At the beginning of the third movement t e pianos are used to ply a pedal bass (see Fig. 55, p. 71). After a passage of rapidly repeated chords i neth introduction U-1ich modulate from D-ma jor to '-ma jor, there is an outburst of triplets in woodwinds and piano (see Fig. b6, p. 72). Thesa repeated chords appear as an acoompaniment pattern in the middle of the movement (see Fig. 57,p. 73). The device of interli nke thirds of the first aid second fmovements re-appears in the pianos first as two interlinked

major third s:

p~c~ Sf etp e4

ig. b.--yphony of salms Third.'ovem ent, mm. 38

add Ptor ii te second piano s a minor third interliniked with a ma or third:

P1o ped/ 4de 4h .

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Flogs b4.i--- hon of Mov Psalms, Third met, i . 0>1 71 I

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Fig. o5.--VymphonOf Psalms, Third Lovemen-t , mm. 4--. 72

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Fig. 56.--Symphony of Psalms, Third Movement, mm. 39-42. allr* 111 SEEIE sale 1111111 $fill f -- - T C

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Near the end of this movement the pianos and tympani

play a pedal bass over which the chorus sings a slow melody

(see Fig. b8, p. 75). Of this section Aollo Myers says:

Few things in music are more impressive and moving than the "Laudate Eum"t closing section of the symphony, intoned by the choir over a pedal bass of alternating 4ths (E-flat, B-flat, and F) which swing relentlessly up and down for forty-three bars under the changing harmonies of the choir and upper orchestra, culminating in one of those spacious final ,cadences which are so characteris tic of Stravinsky. 2 6

cherzQ a la Russe

The Scherzo a Ia_ usse (1944) was composed at the re quest of Paul Whiteman, the famous promoter of symphonic jazz,

which had given birth to the R>apsody _in Blue of George Gershwin. Stravinsky has since prepared a symphonic version,

which is the one most frequently heard today. In speaking of this work Tansman states:

The Russian quality of this short Scherzo like that of certain parts of the Sonata for Two Pianos has nothing of the brilliant and dynarc character of the Rite or Les Noce, or of the Orientalism of the Fire-Bird. The Russian quality here is amiable and placid, and recalls by it infectiousness certain turns of the airs in Mavra. here, on a plane freed of any surcharge , the smooth and unconstrained material is developed, ornamented by delightful modulations, in an orchestral frame that does not try to be pie tures ue, but is replete with well image ined piquan c ies. 7

2 QRollo Myers, Introduction to the Pus ic of StravinsJg p. 51.-- 74Tansman, op cit., p. 252. 75

a-'

t

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;I = = =.OI

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______3 ______Tr-ai

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r 1

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Fig. 58.---Symphony of Psalms, Third Movement, mm. 160-167. 76

This scherzo is composed of five sections, in the form of A-B-A-C-A. Th e parallel chords in trump ets at the beginning of the first section are somewhat reminiscent of the opening

b ars of the "Russian Dance" from Petrouchka, and the piano is used here to punctuate the beats (see Fig. 60, p. 77).

The second secion of the scherzo (Trio I) is unique in the contrapuntal use of the harp and piano against a very soft background of trumpet and strings in sixteenth notes, Stravinsky's use of the piano in this canon marks

the first time he has employed the piano as a melodic instru me nt playing only a single line doubled at the octave. e

harp answers the piano one beat later:

ii70

PiacI

I A 4_.

* I I

14ap

r IILI'

5 ig. 9.--Scherzo a la Russe, Trio I mm. -7 77

Scherzo a la Russe Symphonic Vet ai 'for Stravinsky Con moto V-1ii6) 1944

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.- Le. oQ.--.Qierzo a la 'usse, arm. 1-4. 78

In the fourth section (Trio II), which is more in the style of section one, the piano is employed mainly in the playing of passages using alternation of hands:

6 Fig. l.--scherzo a Russe, Trio IiI, am. 1-2.

Scenes de Ballet $cenes de Ballet, a classical ballet for orchestra, was intended for Billy Rose's revue, T e Seven Livel Arts, which ran on Broadway in 1944 and 1945. Stravinsky was asked to write the music for a classic ballet in the style of Giselle, though without any definite sub j ect.2 8 How ever, only fragments were actually used in the Broadway spectacle, and the work was first performed in its entirety during the series of concerts given by the New York Phil harmonic in the winter of 1945 with Stravinsky as conductor. 2 9 Scenes de Ballet is comprised of the following move ments: Introduction, Dances ("corps de ballet"), Variation

Tansman, 9 oit., p. . 2 Ujite, op. cit., p. 166. 79

of the Ballerina, Pantomime, "Pas de eux, "t second Pantomime, Variation of the Dancer, Variation of the Ballerina, Dances ("corps de ballet"), and Apotheosis. "Any indication of a relationship to a fixed text is eliminated from the musical conception of the work. 030 the short, slow Introduction "exposes in five-eighths rhythm a melodic pattern of the violas, violoncellos, and contrabasses, with a third alternating in major and minor, against the harmonic background of two horns.131 The piano is used in chord passages in the Introduction (see Fig. 63, p. 80). In the opening of the Variation of the Ballerina, the piano plays an arpejio which leads to a passage in 6/8 meter where the piano punctuates the first and fourth beats:

/ qta d left Fed I '

1i. 62.--Scene8 Ballet, Variation of the Ballerina,

3 0 T an sman , o cit ., p . 256 . 1 Ib3 id . 80

SCENES DE BAJULLl Introduction

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Lopynght, 19-5, b. t-n 94440 For the Water. Hemisphere n Punted S A Fl-nwhere + hat

Fi. e6. -- Scenes de Baliet, Intro auction, mam. 1- 5. The Variation of the Ballerina frequently combines

ternary and binary measures, as in the following example in the piano:

Ir- 1' Id AIN.

F

Fig. 64.--Senes de Ballet, Variation of the Ballerina, mm. 30-31.

The first Pantomime begins vith sustained harmonies of

the woodwinds, further accented by arpeggios of the strings,

and leads to an andantino, "of a typically 'tiptoe dance'

character, with the leaps accentuated by the oboes and the

flute stepping over a light pulsation of the strings.,

Crossing over of the left hand characterizes the piano accom

paniment to this anciantino:

4 Ibi&., p. 257. Fig. 65.---Scenes d Ballet, Pantomime, roa. 18-19.

The *Pas de Deux"r-' marks the appearance of a deliberatelyr pompous theme , exposedA by the trumpe t agains t a counterpoint of the horn. In speaking of this theme Lawrence Morton says:

In cesd~e Bale, a vo rk written for, of all 144 people, Billy oe-,- there is a trumpe t tune o f almost incredible sent imentali ty. I know o f no thing qu ite like it anywhere else in Stravinsky' s mus ic. Remove from it the marks of genius, make it four-square , give it a Cole Porter lyric, and you have a genuine pop tune.3

Upon the se cond en trance of th is trumpet -th eme the piano plays a staccato broken chord accompaniment

Fig. 66.--Scenes de Ballet, Pas de Deux,"" mm. 31- .

mLawrene, ex orton, "Incongruity and Faith," Stravinsky, (edited by Corle), ppe. 194-195. Piccolo, flute, and strings then join the trumpet in playing this theme, and the piano plays broad chords in triplets (see Fig. 68, p. 84). Stravinsky scored more crossing of hands in arpeggio passages from the beginning of Variation of the Dancer, and the piano is used in doubling with full orchestra near the middle of this section. A pizzicato ostinato bass is played throughout Dances ("corps de ballet ) by the cellos and basses, and the piano, playing staccato, joins them in the last few measures:

Pil~o ~Pocof

pp

i. 67.--Scenes de Ballet, Dances ("corps tmm. 6- 9. ._ ____ .. de ballet") ,

" masterly Apotheosis, in which a wonderful use of the resources of the old devices of the tremolo and the trill 11

84

47~ he. r~ (7?>

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Fig. 68.--;cenes de Ballet, 'Pas de D eux ," um. 40-41. 85

results in an impressively novel and forceful effect, closes

this magnificent suite, rich in substance, and of a realization as new as it is well balanced." 3 4 The piano joins the orches tra in playing very broad chords at the end of the Apotheosis (see Fig. 69, p. 86).

symphony in Three Movements

The Symphony in Three Movements (1945) was dedicated

to the New York Philharmonic-Symphony Orchestra, tvich intro duced it in New York City on January 24, 1946, the composer conducting. A radical change in the composer's approach to

symphonic style is evident in this woxt, and it is completely independent of formal symphonic structure. There is no sonata form, no development, no recapitulation.35 "The music is conceived as the succession of clearly outlined blocks, or planes, which are unified and related through the continuity of a steadily and logically evolving organic force. "36 Tansxman states:

I consider this opus as a sum of Stravinsky's work. It touches upon all the phases of the composer's artistic evolution, without being in the least a repetition or a recapitulation. The :phony preserves the aspect of an absolutely new composition, and contains a wealth of material that could be the source of numerous develop meats. It is an achievement, perfect in the maturity of

34 Tansman, op. 3 5 cit., p. 258. Ewen, ofp. cit., p. 416-417.

6Ingolf Dahl, "Stravinsky in 1946," modern Music, XXIII (July, 1946), 159. 86

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F~, a-.--scelies ue BiJlet, 1tp'i ew~ u m 122 the thought it expresses and the firmness of its construc tion; a work remarkable in its youthfulness and vitality, rich in substance and inexhaustible in its movement. In this work all the apparent Stravinskys" meet each other through a new Stravinsky in a concentrated creative har mony. Like a pillar, it supports, with its perfection, an evolution that is logical but many sided: Petrouchka, the Rite, Looces, L'Histoire u Soldat, Oedipus-xex, Apollon, the ymmphonof Psalms , and the Symphony in . IThis the master column of ha hrmonious edifice ht I;or :travinskbuilt with his musical works.A 7

Dahl gives the following summary of the first movement of thes rwphoy ir Three Movemenrts:

The over-all plan of the first movement is one of two outer "tti' sections framing a central "solo" part. approximate&e time proportion of these three sections i 2:3«l. The third section"brings a modified return of some of the motivic material of the first and second in reverse order. [o "recapitulation," but rather varied references. In the center section of the movement the texture becomes entirely polyphonic. This remarkable polyphony, which would be well worth a special study fills the functions of a development,"t as does the fugal section of the last movement. The te o development here should be cell differentiated from that applied to the orata form or the thematic development of the romanti cists. It signifies here an inner intensification of form through dynamics. The movement develops to a cli max through the density of construction alone, which is entirely different from traditional development. The end of this central section gets completely off the ground; all motivic references are hidden behind the kaleidos copic but perfectly proportioned juxtapositions of free shapes.38

e opening of the first movement is a large g esture in unison played by strings, horns, and piano (see Fig. 70, p. 88).

One interval then gains prominence, the minor third (or major sixth). It is first pronounced by the horns, and later becomes

7 Tansman, o. cit., p. 262. r8Dahl, op. cit., p. 161. 88

SYMPHONY h. Th..Mwmm....s

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"3. 104M C(t~vtA. 194. bp Amweie.d Music Pomwm I.e in UA. 4 Fig. 70.-- symphony in Three Movements, First Movement, mm. 1-4. 89

the ostinato bass of an extended passage of great rhythmic drive in which th e piano .plays marcato triplet chords:

Pl - T

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Fig. 71.--Symphy in Three ovements, First movement mm. 27-28. 90

The piano then doubles with bass clarinet, bassoons,

cellos, and basses in playing scale passages which accompany a melody in French horn. Stravinsky achieves an interesting

effect in the piano by alternating octaves and sinle notes:

r

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Fig. 72.--ymphony in Three Movements, First Movement, M. 59-60.

The following passage, doubled with cello, appears several times:

.6 2-----

_W 77II

ig. 73.--ymphony in Tree movements, First ov.ent, mm. 105-107. ~ 91

Te interval of h i i r tnird (or major sixth) hich was first proounc& by the horns and later became the ostinato bass of the passage in igure 71, introduces the central section of the movement (see F. 74, p. 92). Tansunn gives ite following description of this section: A rhythmic pa ttern o the horns (tie Gma jor chord), whose obsessive repetition is smewhat sugestive of certain planes of the Danses Concertantes, is the source of a series of concertini, in wicn uhe groups, as thou brought up to a platform, oppose their respective timbres in a transparent but rigorous polyphony.

Tie piano introduces its metallic timbre in ingenious "two-part inventions, dividing or unifying the groups of the woodwinds and the strings, with watchful reminders of the rhythmic harmonic s of the tiree horns.39

4 0 The "concertino" treat tment of the jiano as in igure

74 continues throughout aie mile section urtil r ew episode appwas intich the voouiinds introduce aaee in tree~ eixhths against a astonishing double ostinato of the violins and piano (see iig. 73, p. 9 ).41

39 Tars an, o cit., p. 2b7.

40part ot the material which became the middle section of the first movement 01 e Jm95y in Three dovenct2s was original in.ede frt a symthonic work ith a ciano con

41%, p. 267. 92

36 39

33

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Fig. 74.--3ymphony in Three Movements, First Movement, mm. 144-152. 4 . } _ '"t" .93 .. e . Aw M j m 4p c j- Wag "I

fy v

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Fig. 75.--iymphony in Three Movements, First Movement .318-32O. 94

TMe pattern of Figure 75 leads to the return of the earlier

ostinato episode in G-major of Figure 71. After a re-statement

of some of the themes from the first of the movement, the

first movement closes with a key shift to C-major. Stravinsky

chose to omit the piano from the chamber music of the second movement.

After a short interlude the third movement opens with

stamping beats in C-maor. Here the piano doubles v4th full

orchestra (see Fig. 77, p. 95). The middle section of this

movement consists of a fugue h ioh is introduced in piano and trombone:

J-one :

Pf fe. ( 4dSCS I> if

f lie I ~ f AeII

I AI

g. 76. hony in Three Movements, Third Movement im. 1L3-118. x Con moto (j.No 4ZFI FI-:______-__-_Ifi n! I c ' & ---t

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F. 7.- hn n Tnrel v n , Thir - ove m.__-4. 96

According to Dahl, Stravinsky wants the fugue theme of

the middle of this movement to be understood as the fulfill ment and affirmation of the sections leading up to it. "The

theme itself is quite unlike any other theme in music--daring in its intervals as well as in rhythmic scheme and orchestra tion, 42 Like the enes e Ballet, "the work closes with striking sonorities, arrived at by an astonishing treatment of the old device of the tremolo of the clarinets and the horns.t 4 3 The piano is used in doublings in the last part of the work (see Fig. 78, p. 97).

In summing up the work Dahl states:

The interval tension in ti e whole symphony is con tinually high. Minor seconds, major sevenths, minor ninths are used throughout with great consistency and often astonishing bite. The unequivocal truthfulness of the whole design is one of the reasons for recog nizing this work as one of the most directly speaking embodiments of contemporary form. Let it be said at once, this is no island music. It is here and now- and it has the power to move. 4 4

In the piano part of the Symphony inx Three Movements a great change is evident in Stravinsy's treatment of that instrument in the orchestra since the time of Tie Fire-Bird. This is a gradual change, however, and each of the works between has played its part in the development of Stravinsky's

4 Dahl, o .cit., p. 165. 43Tansman, op. cit., p. 271.

44Dahl, op cit., p. 165. low

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78.- Al nyin.Thee 0ve ment7S Third'.ovemen. 98

pianistic style of writing with orchestra. The orchestration of The ire-Bird is strongly influenced by Rimsky-Korsakoff;

Stravinsky borrowed the color devices of the glissando, tremolo, and arpeggio from him. These devices are still found in some of the later works although they have taken on a secondary nature.

With Petrouchka the piano gained a prominence in a strictly orchestral work that it had never known up to that time. To say that t e piano is treated on the same level as the other instruments would be misleading, however, since this work was originally intended as a concert piece for piano solo and orchestra, and it retains the original form in the tRussian Iance' and all of Tableau II. The piano part in the remainder of the score is close to the style of The Fire-Bird.

Stravinsky still employs the color devices of The Fire

Bird in Le Chant du Rossigno, and makes considerable use of parallel fifths and fourths to help give the piece its oriental quality. His treatment of the orchestra on chamber music lines in this work paved the way for the "concertante use of the piano which reached its height in symphony in Three movements.

In the ymphoy of_ Psalms the two pianos gain an inde pendence of the other instruments that is not found in any of the earlier works outside the solo sections of Petrouchka. 99

For the first time the piano plays a role in a polyphonic

structure, and the devices of augmentation in the first movement and the pedal basses in the last movement are new to -travinsys pianistic writing in the orchestra.

There is very little stylistic innovation in the two short compositions Scherzo a l aRusse and Scenes de Ballet. The most interesting pianistic treatment is the canon of piano and harp in Trio I of the Scherzo. With the ymphony in Three Movements is reached the summing up of all Stravinskyts orchestral writing for piano. He still employs some of the devices of his earlier music, but in the concertino treatment of the piano in the first movement and in the fugal section of the last movement the piano plays a role of importance in a polyphonic structure that has not been surpassed in contemporary symphonic literature.

Although more than a century has passed since the first use of the piano in an orchestral work, most of the advance ment in the use of tis instrur ent in the orchestra has taken place in the thirty-five year period from the first appearance of ie Fire-Biro in 19lO to he Syphn in Three hlovanenits of 194o. Through the piano parts of such works as Petrouchka

trrvinsk has probably influenced orchestral piano style more than any other living composer. BIBIGRAPH

Books

Abraham, Gerald, Rimsy-orskofi, London, Duckworth, 1945, previously pWSTih eiTTTTers of Russian vusi c, by M. D. Calvocoressi and Gera Abraham.

Barzun, Jacques, Berlioz and the oantic etu, Vol. 1, first editioW, Bostoi L&Tfie, Brown, 90 1 Bauer, arion, Twentieth uentuxy Music, New York an( London, J. P. Putn is Sons, 194. nenois, Alexaidre, meminescences of the Rssian Ballet, trans late' by ary riTneva, London, Putnam, 1941.

Berlioz, Hector, reatise on Instrumentation, enlarged and revised by Richar Stauss translated by Theodore Front, New Yoxk, E. . Ka lus, 1948.

7 0alvocoressi, ichrj, A Survey of Husmi 1.'usic, Nw York j! 4i rBooks, 1944.

Ca s &Dar,Te Iis'toyry of Orchestration, ew Yoik, E.2. >tton &F~T.719 25.

Clo son, Ernest , T ist oyo the isro, translated by Delano Awes, London, Ele1P. ,~ 1747.

Co le, Edwin, editor, Igor javi5sk, Pew York, Duell, Sloan, and Pearce, distributors, 1949, a mre Armitage Book.

Evans, Edwin, :travi :e The Fire-ird %n&Petrouchka, London Ox f r University Preis ,I~ niIord, 193

wen, David, The Comoete Book of 20th Century Lusic, >ew York,

STentieth CenturY (omqo , Ic' Vork, tow'' 7. roweli

filhmor,, Jhn, Aisto of Panoforte uic, London, sw. wan onnenisch in and Co. , 1885.

100 101

Gardner, aurice, The Orchestrator's Handbook, Great Neck, . Y., 0 taff Music PulisThing fo., 1948.

Geiringer, Karl, Musical Instruments, translated by Bernard Mall, New York., Oxford University Press, 1945.

Hervey, Arthur, Saint-a'ns, New Yor, Dodd, Mead & Company, 1922.

King, Henri, odern Orchestration and Instrument ation, trans lated by aGusavener, reviseand enlarged English edition, New York, N. Y., C. Fischer, 1905.

Lede nan,t Minna, editor, Stravinsky in tib Theatre , New York, Pellegrini Cudahy, 1949.

Lyle, Watson, Saint-Sann, his Life an Art, New York, S. P. Dutton& .,1923.

Myers, Rollo, Introduction to the Music of trains, London, a.DbsonTY5. ~rv~,ao Kanna in, Guido, fModern Composers, transla ted by \iichael R. Bonavia, New York, E. P. Dutton & Co. , 1933. Rim sky-orsakoff, Nicolas, Musical Life, translated from the revised second Russian editionFy7Judah A. Joffe, edited with an introduction by Carl van Vech ten, New York,, A. A. Knopf, 1928.

Principles of Orchestration, edited by Maximilian tinherg,EngJ:ishamnslation by Edward Agate, New York, E. F. Kalmus Orchestra cores, 1912.

Rogers, Bernard, The Art of Orchestration, New York, .Appleton 1 entu r-Crofts, 1917

Sabaneyeff, Leonid, Modern Russian Cozposers, translated by Judah A. Joffe, ew York, International Publishers, 1927.

Salazar, Adolfo, Music in Our Time, translated by Isabel Pope, New York, W. T. Norton & Co., Inc., 1946.

Stravinsky, Igor, Poetics of tusic in the Form of Six Lessons, translate dbythhur aodel and~Ingolf Dahl, Carytbridge, Harvard University Press, 1947.

Stravinsky: A. Autobiography, New York, Simon and chusten, 193W. 102

Tansman, Alexandre, Igor Stravinsky, translated by Therese and. Oharles Bleot'ield, low York, lutnamn, 1949.

White, Eric, Stravinsgr; a Critical Survey, London, J. Lehmann, 1947.

Article s

Ap el , Willi, "Augmentation and Diminution," from Harvard Diationar tof' Music, Cambridge, Mass., Harvard University Press, 1947.

"Pentatonic Scale, 4 from Harvard Dictionary of usic, Cambridge, Mass., Harvard University Press, 1947.

Balanchine, George, "The Dance elementt in Stravinskyls Music," from travins y.in the Theatre , edited by Minna Lederman, New Yor. k, elloegrin i~~ udahy,1949.

erger, Arthur, Music for the Ballet," from travinsky in the Theatre, . edited by Minna Lederman, &iew York, Fellegrini & Cudahy, 1949.

"The travinscy Panorama," from Igor Stravinsky, edited by Ed4in Corle, New York,Duel1, Sloan, and Pearce, 1949.

Dahl, Ingolf, "Stravins in 1946," Modern Music, III (July, 1946), 159.

Dictionary of Music and Mus icians, edited by Waldo Srove's. Prat, "TT.York, Te Ma7illan Co., 1920. Article, Cancer tante.

Morton, Lawrence, "Incongruity and Faith," from or Stravinsky, edited by Edwin Corle, New York, Duell, Sloan, and Pearce, 1949. piston, Walter, "Stravinsky as Psalmist," odern Music, VIII (January-February, 1931), 43.

t Rosenfeld, .aul, The Two Stravin&y's, The New RepiubLc IXVI (Feb. 18, 1931), 20-21.

Schloezer, Boris de "Stravinskr; His Technique," Dial, LVXX VI (January, 1929), .14.

$ku sky , Abraham, "pound is the efining Elemen t," Mus ical America, LXII (February, 1952), 159. 103

Music Scores Moussorgsky, Yodeste, Boris Godunov, arranged and orchestrated by N. A. RimsYorsa off, ew York, Affiliated Vusic Corp., no date.

Ravel, Maurice, Jeax d'Eau, New York, Associated Music Publishers, Incorp., c. 1941.

Stravinsky, Igor,.Le Chant du tssignol, Berlin, Moscow, New York, etc., iition Russe de Musique, miniature score, c. 1921.

Te Fire-Bitd, re-orestrated by the composer in 1919, N .Kalmus Orchestra Scores, miniature score, c. 1932.

Petrouhka, New York, Boosey-Hawkes, Ltd., miniature score,

Petrouchka, revised 1947 version, London, Iew York, Bosey Hawkes, full score, 1948.

Scenes e allet, New Yor, Associated, Music Publishers, Tf57, mliature score, c. 1945.

4cherzo a la Ruse, symphonic version, New York, Associted Music PubliVhers, Inc., miniature score, c. 1945.

Symphony of Psalms, Berlin, Leipzig, Paris, etc., Edition usse de usilqu miniature score, c. 1931.

symphony i Three Movements, New York, Associated Music -ubishers, Inc., miniature score, c. 1946.