DANSES CQNCERTANTES by IGOR STRAVINSKY: an ARRANGEMENT for TWO PIANOS, FOUR HANDS by KEVIN PURRONE, B.M., M.M

DANSES CQNCERTANTES BY IGOR STRAVINSKY: AN ARRANGEMENT FOR TWO PIANOS, FOUR HANDS by KEVIN PURRONE, B.M., M.M.

A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved

Accepted

August, 1994 t ACKNOWLEDGMENTS

I would like to extend my appreciation to Dr. William Westney, not only for the excellent advice he offered during the course of this project, but also for the fine example he set as an artist, scholar and teacher during my years at Texas Tech University. The others on my dissertation committee-Dr. Wayne Hobbs, director of the School of Music, Dr. Kenneth Davis, Dr. Richard Weaver and Dr. Daniel Nathan-were all very helpful in inspiring me to complete this work. Ms. Barbi Dickensheet at the graduate school gave me much positive assistance in the final preparation and layout of the text. My father, Mr. Savino Purrone, as well as my family, were always very supportive. European American Music granted me permission to reprint my arrangement—this was essential, and I am thankful for their help and especially for Ms. Caroline Kane's assistance in this matter. Many other individuals assisted me, sometimes without knowing it. To all I express my heartfelt thanks and appreciation.

11 TABLE OF CONTENTS

ACKNOWLEDGMENTS ii

CHAPTER

L INTRODUCTION 1

n. GENERAL PRINCIPLES 3

Doubled Notes 3

Articulations 4

Melodic Material 4

Equal Roles 4

Free Redistribution of Parts 5

Practical Considerations 5

Homogeneity of Rhythm 5

Dynamics 6

Tutti GesUires 6

Homogeneity of Texmre 6

Forte-Piano Chords 7

Movement EI: Variation I 7

Conclusion 8

BIBLIOGRAPHY 9

m APPENDIX

A. LICENSE AGREEMENT 10

B. MARCHE-INTRODUCTION 13

C. PAS D'ACTION 33

D. THEME VARIE 61

E. PAS DE DEUX 114

F. MARCHE-CONCLUSION 141

IV CHAPTER I INTRODUCTION

There are many fine musical works not originally written for the piano. Pianists have the opportimity to perform these works if an arrangement or transcription is available. As an accomplished pianist, Igor Stravinsky (who composed at the piano) created several arrangements of his orchestral music for one or two pmnos-Petrouchka, Le Sacre du Printemps, Concerto Eb ("Dimibarton Oaks"), Scherzo a la russe. Septet and Agon are examples. Although these arrangements are a testament to his appreciation of the piano as a vahd portrayer of his orchestral music, no arrangement of Danses Concertantes has been available. Danses Concertantes is a work for chamber orchestra in five movements—Marche-Introduction, Pas d'Action, Theme varie. Pas de Deux, and Marche-Conclusion. It is written for flute, oboe, clarinet, bassoon, 2 homs, trumpet, trombone, timpani, 6 violins, 4 violas, 3 violoncelli, and 2 double-basses and its duration is approximately 20- minutes. This piece was commissioned by Wemer Janssen of Los Angeles for his own orchestra, and was conducted by the composer at its premier on February 8, 1942, in Los Angeles. It is an important representation of a change in the composer's style:

Stravinsky was fifty-eight when he began a new life in California [1940], yet he was to change continually and more profoundly there than ever before, both as a composer—from the very first months in Los Angeles, he was more accessible to new ideas and influences than he had been in his final years in Europe-and as a man. The metamorphosis of the man was largely due to his remarriage, but the informality and the radically different "life style" of southern California were contributing factors.^

iFrom Stravinsky in Pictures and Documents, by V. Stravinsky and Robert Craft, 1979, as quoted in Louis Andriessen and Elmer Schoenberger, The Apollonian Clockwork, Oxford: Oxford University Press, 1989, page 12.

1 A quick look at Danses Concertantes gives us die false impression that it is a simple piece.2 The rhythms and meters are straightforward, the pitch content is diatonic, and the scoring is for chamber orchestra. Upon closer examination, the textural sophistication and relationships between the instnmiental parts show a high degree of complexity. The complexity of Danses Concertantes made it necessary in the course of the arrangement to pay unique attention to every measure and every instrumental part. It became obvious that no general formula could be followed—indeed, to consistently follow elementary arranging techniques (e.g., "put the strings in one piano, the winds in the other") would have resulted in disaster. In a sense, the work demanded that it should be arranged in its own way. Recognizing this requirement, I am grateful that very few notes needed to be omitted from the two-piano version, which has the added benefit of being idiomatic. Following this introduction is a discussion of the general principles which were followed during the course of the arrangement. This discussion is not meant to be exhaustive, but rather intends to be a compilation of concepts of which I made frequent use. It also may reveal certain aspects of the arranging process as a creative endeavor. The appendices follow. They contain a copy of the license agreement from European American Music Distributors, Inc., the score of each movement of the arrangement for two pianos, and analytical notes following each of these movements. These notes contain information about my distributions of the instnmiental parts (i.e., which piano or which hand takes the various parts). They also attempt to reveal the criteria and reasoning behind the many decisions I made conceming these distributions. Here, the appHcation of general principles is discussed in detail. The possession of a full score (Schott ED 4275) as well as a recording (Stravinsky recorded this work on Columbia Records, M30516. "Stravinsky Conducts.") would help the reader to acquire a good imderstanding of the original work, the arrangement, and my analytical notes.

2 Andriessen, Louis and Elmer Schoenberger, trans. Jeff Hamburg, The Apollonian Clockwork. Oxford: Oxford University Press, 1989, page 12. CHAPTER II GENERAL PRINCIPLES

During the course of the arrangement, certain principles were followed. Some of these principles I imposed from the beginning. The majority of them evolved from die namre of the original orchestration as well as the composition itself.

Doubled Notes From the first measure to the last, the primary and most obvious principle was to find doubled notes so that they would not be included in the two piano version. Doubled notes are considered to be the same pitches which appear in more than one instmmental part simultaneously. For example, in movement I, measure 1-11, the orchestral score shows eleven parts while the arrangement shows eight. It is not that certain parts are omitted, but rather that the doubled notes are not included. Although this principle is the simplest, it lays the foundation for the entire arrangement. Another example is in movement I, measure 31, where the oboe doubles the first violin and the clarinet doubles the viola. In this case, a variation of the doubling principle arises, which is concemed with instruments that play the same pitches an octave apart. Sometimes, it is necessary to omit one of these parts. In measures 31 and 34, the octave doubling of the flute is not included because it is a color effect and if not omitted, would create a passage which is not idiomatic to the piano. In movement III, variation I, measures 44ff., the lower viola octave is not included: its absence allows the pianist to follow the grazioso indication. An interesting appHcation of this principle evolved from the texture in movement II, measures 29ff. The melody is generated by the crossing of violin and viola parts, which individually jump up and down octaves, but together form a continuous melodic Hne. The lower octave is not included—it would prevent the pianist from playing the material in the indicated leggiero character. Articulations The treatment of articulations followed general patterns. Down- bow indications in the orchestral score are not included in the arrangement. A regular accent is substituted. For example, in movement n, measures 18-21, the down-bow indications are changed to accent marks in piano one. When pizzicato appears as an important part of the orchestral color, I add "pizz." to each appropriate note (see movement III, variation n, measures 37ff.). At other times, I add staccato marks instead of "pizz." over the notes, so that the arrangement does not get too cluttered. If the same notes appear in different instruments with different articulations, an average is found. In movement IV, measures 22-30. the cello and bass have the same notes, but the cello plays pizzicato quarter- notes at mezzo forte while the bass plays arco half-notes at piano. A mezzo piano is indicated in the arrangement, and accents are added to each of these notes to simulate the percussive effect of the cello pizzicati.

Melodic Material The distribution of melodic material was affected by a principle concemed with piano technique. If one hand takes important melodic material, and that hand is unencumbered by other notes, the performer will have more control over the material's phrasing, dynamics, shaping, articulation, etc. For example, see movement I, measures 12ff., in piano two, and in measure 27ff., where piano one has only the trumpet part in the right hand.

Equal Roles The principle concemed with giving each pianist as equal a share in the material as possible encompassed the entire arrangement. There was not to be one pianist serving as an accompanist to the other. Therefore, when one pianist has the melodic material in a certain section, the other pianist will have the melodic material in the next section, so that the pianists altemate. For example, see movement IV, measures 6-16, where piano two has the accompanying figure in measure 6, while piano one has the accompanying figure in measure 12.

Free Redistribution of Parts From a performer's point of view, it was occasionally more practical to switch instrumental lines between pianists, sometimes several times in one measure, than to keep tiiem all in the same hand or piano. One example is found in movement I, measure 24, where the repeated notes in the trumpet and oboe are potentially difficult to execute. These parts are split between the two pianos as alternating sixteenth-note chords. See also the discussion of movement IE, variation I, below.

Practicality To make an arrangement that is practical and pianistic became a principle that helped to determine the general distribution of parts. The many technical aspects of piano performance consistently affected the production of each measure of the arrangement. For example, in movement I, measures 74-78, the flute's grace notes are transposed down one octave so they can be performed.

Homogeneity of Rhythm When instmmental parts play the same rhythms, it makes pianistic sense to put them in one pianist's part. For example, in movement II, measures 16-17, the 32nd-note runs of the flute and clarinet are best played by one pianist. In movement II, measures 46ff., the flute and clarinet, who play rhythms based on the same motive, go to piano two. This principle also extends to rhythmic combinations which work best if played by one pianist. In movement III, variation IV, measures 1- 7, piano one has the cello and bass along with the off-beat homs, violins and violas, which all together constitute a driving rhythmic figure. Dvnamics Dynamics are occasionally averaged. Some measures have several different dynamics which apply to different instruments. In movement ni, variation I, measure 28, the bassoon has mp, the clarinet has^, the flute has^, and the tmmpet has poco sfp. These instruments play at the same time. Instead of cluttering the score with a dynamic over each note (which would not have fruitful consequences in performance), I use the dynamic^ (see also measures 24-32). Since a tmmpet's dynamic range is much different than a violin's, and other instruments have other differences, there are instances where dynamics are added to clarify the texmre. In movement III, variation I, measures 9ff., the dynamic mp is added to the tmmpet melody in piano two to insure that it emerges from the fabric, as it does in the original version.

Tutti Gestures When a strong tutti gesture occurs, as in the first beat of movement n and its later ritornelli, both pianists play the same notes, which simulates the orchestral tutti effect. This is an exception to the doubling principle.

Homogeneity of Texture The texture of the work is not static. It includes independent melodic lines as well as sections where groups of instruments create a homogeneous texture. Homogeneous parts were assigned to one pianist wherever possible. The meno mosso of movement II (measures 46ff.) has four solo violin parts, which form a unique section. Although these parts could have been distributed between two pianos, they go to piano one exclusively. The principle of homogeneity extends to lyrical melodies, whose notes are kept in one hand, even if hand crossings result. For example, in movement IV, measures 5ff., the right hand of piano one takes the oboe while the left hand takes the clarinet. It would have been possible to give the right hand the highest notes of the two parts and the left hand the lowest—this would prevent the hands from crossing one another-but this would have resulted in a unacceptable dilution of each line's unique character. The parts that do not have imique melodic content are incorporated into the texture regardless of their crossing each other, as in movement FV, measures 111-114, where both the bassoon and homs (which accompany the violins) go to piano one, right hand, even though these parts cross each other.

Forte-Piano Chords K forte-piano chord (a sustained chord that begins/orr^ and changes immediately to piano) is easily performed on wind or string instmments, but not on one piano, since once the pianist plays a chord, there are limits to what she can do with its sound. However, two pianos can simulate the dynamic change of these types of chords—both pianists play the chord, one plays/orr^ and staccato while the other plays piano and sustained. For example, see movement FV, measure 21, where Stravinsky marks poco sforzato piano subito ("a little accented and then suddenly soft"). Both pianos take this chord, one playing it short and accented, the o\htr piano and sustained. See also measure 55, where the combination of a sustained piano chord in the winds and a sforzato pizzicato chord in the strings is treated in similar fashion in the piano parts.

Movement III: Variation I Variation I of movement HI demanded special attention. When I first looked at this variation, I doubted it could be arranged successfully. The repeated notes must be dealt with. They could have been transformed into some sort of pianistic tremolo, but that would dilute one of this variation's essential characteristics. The successful performance of these repeated notes as they originally appear in the score is assured if the pianist can use both hands, one to play the first four, the other to play the terminating eighth-note. This would be simple enough to arrange except that another essential characteristic of this variation is the consistent juxtaposition of longer and shorter notes on the same pitch, creating a unique texmre. This begins with the first beat of the variation, where the horn's sustained F is doubled by the violin's staccato 16th-note F's. It would be ideal to have both pianos play these F's, one sustained, the other staccati. In this case, the doubling principle is ignored, but the unique texmre is simulated. With one pianist using two hands for the repeated- note motives, and the other playing coincident sustained notes with one hand, only one other hand is left to play the many other parts. It was possible to transcribe this variation, maintain its essential characteristics, and make it possible to play only by freely redistributing the parts between the pianists, sometimes even with the measure. Consequently, the sustained melody moves from hand to hand, pianist to pianist, and diagonal lines are added to trace its movement. Other parts follow similar redistributions. Luckily, the equality of timbre between the pianos as well as good ensemble playing allows two pianos to successfully perform this variation.

Conclusion Although the principles outlined above are real and useful, the role of the arbitrary played a significant part during the arranging process. There were many instances where more than one solution was possible. Some choices were based on how the parts felt under the hands, if that feeling was consistent with the way the music sounded, the interplay between the hands and between the pianists and if that interplay reflected something about the orchestration, and the sonorous combinations as they speak through the piano. Other choices may have been whimsical. The most important principle was not acmally a principle at all. It was the consistent application of instinct and intuition to every measure of the arrangement. When I tried to impose mles and principles in a black and white fashion, or in a manner that was too conscious, the arranging stalled, and I inevitably ran into roadblocks. This may seem to be a paradox, but is ultimately understandable when one views arranging as the creative process it is, a process whose success depends on the healthy role the subconscious can play.

8 BIBLIOGRAPHY

Andriessen, Louis and Elmer Schoenberger (trans. Jeff Hamburg). 1989. The Apollonian Clockwork. Oxford: Oxford University Press.

Goldner, Nancy. 1973. The Stravinsky Festival. New York: The Eakins Press.

Hinson, Maurice. 1983. Music for More than One Piano. Bloomington: Indiana University Press.

Joseph, Charles M. 1983. Stravinsky and the Piano. Ann Arbor: UMI Research Press.

Stravinsky, Igor. 1942. Danses concertantes for Chamber Orchestra. New York: Schott Music Corporation.

Stravinsky, Igor and Robert Craft. 1959. Memories and Commentaries. Berkeley: University of California Press.

Stravinsky, Igor and Robert Craft. 1980. Conversations with Igor Stravinsky. Berkeley: University of California Press.

Stravinsky, Igor. 1971. Stravinsky Conducts. New York: Columbia Records, M30516. APPENDIX A

LICENSE AGREEMENT

10 3 May 1994

Mr. Kevin Purrone Music School M.S. 2033 Texas Tech University Lubbock, TX 79405 ftfflERl RE: Stravinsky DANSES CONCERTANTES, only PO BOX 850 Dear Mr. Purrone: VALLEY FORGE. PA 19482-0850

TELEPHONE (215) 648-0506 In accordance with your request of 21 February 1994, we FACSIMILE (215) 889-0242 hereby grant a non-exclusive license for you to reprint your arrangement of the above-mentioned work In connection with your doctoral dissertation, provided Cue coaditicns B. SCHOTT'S listed below are satisfied: SOEHNE SCHOTT and CO.. LTD 1. All copies of the Arrangement shall bear the following UNIVERSAL copyright notice, displayed prominently: EDITION. VIENNA UNIVERSAL Stravinsky DANSES CONCERTANTES EDITION. LONDON 1942 by Associated Music Publishers, Inc. assigned to B. Schott's Soehne, Mainz 1946 § renewed B. Schott's Soehne, Mainz Also representing This version (?) copyright 1994 by B. Schott's ARS VIVA Soehne, Mainz VERLAG All Rights Reserved EULENBURG MINIATURE Used by permission of European American Music SCORES Distributors Corporation, sole U.S. and Canadian agent EUROPEAN for B. Schott's Soehne, Mainz AMERICAN MUSIC CORPORATION 2. Mention will be given us In the prefatory or appendix FRANZ LEHAR S acknowledgements, if any. GLOCKEN VERLAG HAYDN-MOZART PRESS 3. This permission is valid providing your doctoral HELICON dissertation Is completed within one (1) year of the MUSIC date of this letter. CORPORATION LCA POCKC SCORES 4. This usage is restricted to your doctoral MOECK VERLAG dissertation, which is not to be sold or distributed INSTRUMENTENWERK in any manner whatsoever without the consent of the PHILHARMONIA publisher, and is not to be reproduced except for the POCK.ET SCORES archives of Texas Tech University and by University SCHOTTFRERES Microfilms International. SCHOTT JAPAN VIENNA URTEXT EDITION 5. In consideration for the foregoing, you agree to pay ZEN-ON European American Music Distributors Corporation a (Contemporary) license fee of Thirty-five Dollars ($35.00) which shall be paid when signed copies of this letter are returned to us.

One (1) copy of your dissertation and arrangement Is Effective January 1994 to be provided to the publisher, gratis, upon completion thereof. NEW TELEPHONE (610) 648-0506 NEW FACSIMILE (continued) (610) 889-0242

11 Mr. Kevin Purrone Texas Tech University 3 May 1994 Page 2

Please signify your acceptance by signing and dating each copy of this letter where indicated below and returning both copies to us for countersignature. One fully executed document will then be mailed to you for your files. Your signature below shall assign to B. Schott's Soehne your rights and title to and in the Arrangement and the sole right of registering the copyright in our name or the name of our designee.

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EUROPEAN AMERICAN MUSIC Accepted and agreed to DISTRIBUTORS CORPORATION

By: '^^'JJ LV-/^-^ (Name, Title)

12 APPENDIX B

MARCHE-INTRODUCTION

Stravinsky DANSES CONCERTANTES

© 1942 by Associated Music Publishers, Inc. © assigned to B. Schott's Soehne, Mainz 1946 © renewed B. Schott's Soehne, Mainz This version © copyright 1994 by B. Schott's Soehne, Mainz All Rights Reserved Used by permission of European American Music Distributors Corporation, sole U.S. and Canadian agent for B. Schott's Soehne, Mainz

13 Danses Concertantes arr. Kevin Purrone Igor Stravinsky

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25 Notes to Marche-Introduction Measures 1-4: The bassoon plays the same notes as the low strings, (with interesting octave changes), invigorating the texture, adding color, but being predominated by the contour of the lower strings nevertheless. The bassoon is not isolated as a unique part in the piano version. Measures 1-6: To produce the punctuations of the timpani and trombone, I add accentuation to the corresponding notes of piano two. Measures 1-11: The violins and violas are divided in twos, while the cellos are divided in threes. Fortunately, when combining all these parts together, the number of different notes is less than the number of different parts (e.g., the second cello is similar to the second viola). All unique notes are included. The right hand of piano one takes the violin. When melodic material occurs (here as well as in other sections), I make a consistent attempt to give the hand that performs it no other part. This allows the performer more control of good clarity and proper articulation. Measure 8: The sempre spiccato receives an additional dotted line to clarify its affected notes. Measures 9-11: Since piano one has the melodic material while piano two has the inner voices during the first 8 measures, the conversational gesture of the winds here is an opportunity to reverse this distribution. Therefore, the melodic material (in the flute) now goes to the right hand of piano two, which, for the sake of clarity and proper articulation, plays only this material, while its left hand plays the bassoon part. This distribution helps with voicing and differentiation of tone. Piano one plays the inner voices and the bass. Measure 11: A tutti string chord in percussive pizzicato, with brass and timpani sforzati, occurs in the second half of the measure. The nature of this chord (structurally, rhythmically and sonically) is best communicated by giving its notes to both pianists and applying the timpani's accentuation to the whole chord. Measures 12ff.: Piano two now has its tum with the melodic material found in the violins and violas. For good voicing and articulation, a minimum amount of other material appears in piano two during this section. Piano one takes the homs and lower strings. 26 Measures 15ff.: The off-beat chords of the viola and horn could not be ignored because of their unique rhythmic contribution (as upbeats to the accented bass part). Piano two is occupied with the melody, and therefore should not play all these notes even though they are in its immediate range. I spilt these chords between the pianos. The melody of piano two's left hand has the same note as the viola (G) during the second half of beat two. At this point, an accent is added to clarify this coincidence. Indeed, because both pianists are occupied with other material, accents are added to both off-beat chords. One note of these chords was left out (in the second half of measure 15). The cellos take over the melody, lower octave (previously in the viola). Piano two has been playing this melody since measure 12, and continues to do so with the cello part. From measure 12, piano one's role has been more harmonic. It continues in this fashion, taking the viola part, measures 16-19. Measure 20: The energetic passage in the bassoon and double- basses translates into an octave passage for the left hand of piano one. With the right hand free, piano one can take the ascending passages of the trumpet and clarinet. Piano two continues to play the melody in octaves (from the violins and violas) with two hands, for the sake of good articulation and voicing. Since this melody is mostly eighth-notes (measures 20-22), piano two can also take some of the hom's rhythmic eighth-notes without too much confusion, although some of these notes had to be left out. Measure 23: See note to measure 15 conceming the string and horn up-beat punctuations. Measure 24: The repeated notes in the tmmpet and oboe are potentially difficult to execute, especially since both pianists are paying attention to other matters. My solution is to split these parts between the two pianos, not as individual instmments (e.g., oboe to piano one, tmmpet to piano two) but as alternating sixteenth-note chords (the first sixteenth- note chord, C plus B^, to piano one, the second to piano two, the third to piano one, etc.). Since the quality of Marche-Introduction is one of strict, dance-like rhythm, the execution of these altemating chords will occur naturally, as part of the ongoing flow of sixteenth-notes.

27 Measure 26: Usually I would avoid double-thirds in one hand because of their technical unreliability among some pianists (and pianos) but this passage (from the violins and violas, starting the last half of beat 2, measure 25) lies well in the hand because of the placement of its black keys and diatonic nature. Piano two receives these double thirds in the right hand. Measure 27: The tmmpet melody sounds the loudest here, so I gi\ e it solely to the right hand of piano one. The homs go to piano two. The bass goes to piano two because its left hand is already in this register. Measure 31: There are several unison and octave doublings here (e.g., oboes, first violins, flute and bassoon; clarinets and violas). The most important parts are the oboe/violin and clarinet/viola. The flute is a color effect. Including it would force one or two of the pianists to expend inappropriate energy executing octaves. Therefore piano one takes the oboe/violin while piano two takes the clarinet/viola part. This also avoids an awkward, chromatic double-third passage in one hand. The rhythmically important homs go to the free hand of piano one. Piano two has been playing octaves, taken from the basses and cellos. They now have unusually wide intervals. Continuing in octaves in this measure would make it unnecessarily awkward and invite inconsistent execution. I set the first note as an octave, the second, third and fourth as single notes, remm to octaves in measures 32-33, and then repeat this procedure in measure 34. Measure 32: The unique quahties of the viola (with the bassoon) demands its inclusion, and this is conveniently accomplished in piano two, for the sake of leaving piano one's melody unencumbered by extra notes. Measure 33: The violas' notes mostly coincide with those already in piano one, and it is therefore switched to piano one, from piano two in the previous measure. Measure 34: The first note of the viola is different than the coincident passage in the clarinet. This extra note is easily added to piano two, right hand. Measures 34-35: The descending melody (oboe/violins) ends on C. However, the flute (which is not included in either piano) ends on G, and

28 this G is the correct termination point of this scalular passage. I include this fmal G in the chord, measure 35. Measures 35-37: Practical matters take priority in this closely voiced section. The homs go to piano one, and all the strings (which amount to only two unique lines) to piano two. The parallel quartal sonorities generated by die homs and bassoons are voiced best on one piano. This creates a more unified sound. Measure 36: Some notes are redistributed: although the cello is different in measures 35 and 36, piano two, left hand, who has this instmment, is not. It takes the B^ from the viola (last note of measure 36). This prevents the hands from awkwardly crossing. At this point the right hand has the C of the cello part, which is conveniently the same note of the violin. Measures 38ff.: Since piano two has been playing the bass notes for some time, and it is now technically possible to change the distribution, the playful bass notes in this section go to piano one. I change the articulation in the piano part to create the simultaneity of staccato trombone un poco sf inp with slurred bassoon diadportato bass on each note. These notes become eighth-notes with accents (with respect to the trombone) and slurs (with respect to the bassoon and strings). A conversational passage between the strings and winds with comments from the muted brass suggests a conversation between the two pianos. Piano one takes the winds—it is occupied with a slightly tricky bass part, and the wind parts have an easier start than the strings. The notes of the muted brass are distributed between the two pianos. Because piano one is playing the winds, and the winds finish their first phrase on an upward moving gesmre, the right hand will gather upward momentum. It will have to rapidly change direction, thus inviting inaccuracy with its next notes. For this reason, piano one would have success playing just one part of the brass, and that part is the tmmpet's--it lies highest and should sound louder than the homs (the right hand of piano one is more apt to play this part loudly because of its previous fast change of direction). Coincidentally, piano two is not contending with piano one's bass part, and so can easily play more of these brass notes. Although at

29 first considering the word "muted" as a direction for these brass parts, I add dynamic marks (pp) instead: they are more specific. Measures 41-45: The cellos are divided in three's and play pizzicato up-beats, later followed by the upper strings. Their notes match those of the trumpet and homs. To produce this percussive effect, I add accents corresponding to their rhythms to the tmmpet and hom notes. The stemming of these voices are differentiated for the sake of clarity. Measure 45: The flute, oboe and clarinet are not included in the piano parts. They are octave doublings and accentuations of the tmmpet and hom parts, which are included. Measures 46-47: I suggest an additional crescendo here, climaxing at the downbeat of measure 48. There is a dynamic sweep brought about by both the texture and the upward moving Hnes of most instmments. Without an additional marking, a successful crescendo is not likely to occur with the two pianos. Measures 46-48: Piano one conveniently takes the upper woodwind notes because its tmmpet part ends here. Piano two takes the descending sixteenth-notes of the bass and bassoon as octaves, starting on the second note. It is occupied on the downbeat with the upper brass, and piano one already plays the F# on the downbeat. Measures 48ff.: Piano two takes the melodic material of the homs- during the previous section beginning at measure 27, piano one has the melodic material. Because of the large leaps during the first beat of measure 48, some redistribution occurs. Later in the measure, each hand of piano two takes a single note, continuing in this fashion to insure more control of the voicing and articulation. Measures 6Iff.: Piano two now switches to the accompaniment figures of the bassoon (left hand) and clarinet (right hand) (it had the melodic material from measures 48ff.) To insure absolute clarity on the articulation of the left hand's bassoon part, I add staccato marks on each note until measure 65. I add the words stacc. sempre in measure 65. The melodic material (unencumbered) goes to piano one (beginning in measure 63).

30 Measure 63: The high F's can only be played practically by piano one (the three-octave leap is too great for piano two). Measure 63: The pizzicato E goes to piano two (written at an eighth- note instead of a quarter-note, and marked pizz. to simulate the proper effect) while the arco E of the violin solo goes to piano one, who takes this melody forward. Measures 69-70: The violins' sixteenth-notes go to the left hand of piano one. Its right hand can now play the important oboe part of measure 70. Measure 71: The first note of the viola (F) goes to piano one's left hand—this note is a half-step away from the previous note (E) of the violin (the violin conveniently rests on the downbeat of measure 71). Measures 7Iff.: The bassoon and cello play the same notes. The trombone part (marked/?6>co sfinp) is included as marked. Stemmings are separated in these parts for clarity. Coinciding with the bassoon/cello are the basses' pizzicato Cs. I add accents to each of these coincidences in piano two's part to delineate these pizzicati (through measure 76). Piano two continues with the clarinet. Since the oboes match the rhythm of the homs, I gave both these parts to piano one, left hand. Piano one's right hand takes the violin and viola grazioso melody, in octaves. Measures 74ff.: The flute's grace notes (which omament the upper string melody) are transposed down one octave so they can be practically performed by piano one. However, the grace notes of measures 77 and 78 are easily played in their original octave. Measures 76ff.: The oboe is distributed between the two pianos: Starting in piano one's left hand, it moves on the first beat, measure 77, to piano two's right hand. On the second beat of measure 77, piano two's right hand continues with the tmmpet, which then goes to piano one in measure 78 (right hand) and then back to piano two, right hand in measure 79. Measures 77-79: The basses' notes punctuate the bassoon's. I add accents matching these punctuations to the bassoon part as found in the left

31 hand of piano two. The cello is easily included as part of the bassoon/bass part. Measure 82: The chord of the homs and trumpet goes to piano one, left hand. The B^ of the clarinet is the same as the Bt> of the violins. The violin and viola go to piano two's right hand. The viola's E^ goes to piano two's right hand while piano two's left hand can take the bass. The cello is distributed between the two pianos: the first note goes to piano two, left hand, while the second two notes go to piano one, left hand. Since piano one has taken the melody from measures 71ff, piano two now takes the melody in measures 83ff. Measures 83ff.: Piano one takes the clarinet, tmmpet, hom, and some of the trombone. I distributed these parts considering practical execution of the cross-voiced repeated notes. Although the homs are msLvked forte in the orchestral score, I give all these parts the tmmpet's dynamic, mezzo forte because of the orchestral balance. The marccato- stacc. marking is not included for similar reasons: the piano, without a marccato indication, will produce an articulation not unlike the hom produces with a marccato indication. I change the down-bow indication in the violin and viola to an accent in piano two, right hand. Measure 85. The octave leaps are simplified in piano two, right hand (compare notes to measure 31). Piano two takes a few of the hom's notes on the first beat: they fit conveniently within its octave melody, and piano one is occupied with the ascending clarinet and tmmpet lines. Measure 87: The viola chords are distributed in a fashion similar to measures 15 and 23. Measures 88ff.: The conversational namre of this passage is easily portrayed by keeping piano one with the woodwinds and piano two with the strings.

32 APPENDIX C

PAS D'ACTION

Stravinsky DANSES CONCERTANTES

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55 Notes to Pas D'Action Measure 1: The assertive nature of the opening gesture is successfully communicated by giving all notes to both piano one and piano two. Measures 1-5: Piano one takes the first violin in the right hand and the cello in the left hand. Piano two takes the viola in the right hand and the bass in the left. This insures that each pianist has no awkward hand crossings. Measure 4: I delineate the punctuating chords in the brass (whose notes are the same as the strings) by including their sforzati on the appropriate notes. Measure 6: Some parts are redistributed for performance practicality: piano one takes the chord as written in the violins, and in addition takes the viola's F# so that the resulting chord is outlined by an octave, while piano two's right hand chord is outlined by the A's of the viola. The wind and brass notes' sforzati are included in these chords. Measures 7-8: Piano one takes the violin and viola trills with two hands while the third beat Eb goes to the right hand only. Piano two take.s the cello trill in the right hand. Measures 9ff.: The melodic material (of the flute) goes to piano two's right hand while its left hand carries the viola. Piano one takes the violin and clarinet with its right hand while its left hand carries the lower strings. Some of the viloin's notes are doubled by the viola, in which case piano one does not play them. The clarinet doubles the flute. Measures 1 Iff.: Piano one now takes the viola in its right hand while piano two takes the individual violin notes in its left. The down-bow indication in these parts is changed to an accent (measure 11). Measures 11-12, 15-16: Piano one's left hand does not always play the octaves of the lower strings in these measures. 1 leave out some notes of the upper octave to make this passage easier to play piano . Measures 16-17: The thirty-second-note scales in the flute and clarinet are best performed by one pianist. To prepare for this distribution, piano one takes both the violin and viola in its right hand (with some of the lower notes of the viola transposed up a octave). Piano two continues with the flute in its right hand and takes the clarinet in its left. 56 Measures 18-19: Piano two takes the oboe and flute with two hands. Piano one continues with the strings. Measures 18-21: The down-bow indications of the strings are changed to accent marks in piano one. Measures 20-21: Piano two takes the homs with two hands. Measure 22: Piano two finishes the hom passage in its right hand so that its left can take the viola which piano one cannot accommodate. Piano one takes the violins and lower strings, with one of the higher octave notes not included for practical reasons. Measures 23ff.: Compared to the beginning passage, this one has an additional note C (the second 16th-note of the measure). I change piano one's opening chord to clarify the performance of this extra note. Other than this change, this passage reads the same as measures Iff. Measure 28: Piano two does not play the upper octave (the cello) but takes only the bass here. This insures good rhythm and accuracy. Measures 29ff.: Piano two takes the melody of the violin and viola in its right hand (in the previous section, piano one had the melodic material). This melody is generated by whomever is playing the highest note. It is these highest notes that piano two plays. The lower octave notes are not included—an attempt to play this melody in octaves with one had would not be fruitful in communicating its leggiero character. 1 add the dynamic marking mezzo piano to insure that this melody surfaces as it does in the orchestral texture. Piano two's left hand takes lower strings, with some notes in either octave not included for the sake of proper articulation. Piano one takes homs' chords and the bassoon. Measure 36: See note to measure 28. Measure 39: See note to measure 28. Measures 46ff.: Piano one now takes the melodic material in the solo violins. Piano two takes the flute and clarinet. Although the violin parts could have been distributed between the two pianos, they go exclusively to piano one in order to preserve their homogeneity. Measures 57-65: Piano two takes the upper strings, carefully divided between the two hands. Piano one takes the punctuating winds and homs, and because it has less activity, the lower string pizzicati as well.

57 Measures 67-68: The homs are not included here-piano one must take the sustained winds starting in measure 66. (The notes of the homs coincide with the upper strings, taken by piano two.) Measures 69-83: Piano one takes the solo violin and oboe in its right hand because of their similar register. The coincident passage in the bassoon goes to piano two's right hand. Piano one's left hand can easily take the violin and viola repeated chords, while piano two's left hand takes the lower strings. Measures 84ff: The pizzicati of die bass are taken by piano two. I add staccati to these notes (and also include the indication "pizz" under each one). Piano two also takes the upper strings' pimctuations in the right hand. Piano one stays with the winds-it now plays the repeated chords, carefully divided between two hands. Measures 90ff.: In the previous similar passage, piano one took the melodic material. Here it goes to piano two, who now takes the solo violins. Measures 92ff.: The distribution is the same as measures 84ff. Measures 96ff.: The distribution is the same as measures 90ff. Measures 99ff.: The distribution is the same as measures Iff. Measures 104-105: Piano one takes the strings. Piano two takes the winds. Measures 106ff: Piano one continues with the strings. Its left hand can play the sixteenth-notes in octaves as found in the cello and bass--these passages are scalular and not terribly difficult to play accurately. Piano two takes the winds and brass. The hom and trumpet comments are divided carefully between piano two's two hands. Measures 106-107: The glissando in the trombone cannot be executed on the piano. However, I add a slur between the two notes to simulate this effect (piano two has this part). Measure 110: The cello and bass passage in sixteenth-note octaves is impractically difficult to play as written. I do not include the cello's A, F, and A The octaves resume on the third beat. Measure 112: The chords of the upper strings, homs and trombone go to piano one's right hand. Its left hand takes the bass. Piano two continues with the tmmpet and also takes the cello part. 58 Measures 113-116: Because it is easier to play passages in thirds than in fourths, piano one take the viola and cello (which are in thirds) rather than the violin and viola (which are in fourths). Its left hand continues with the bass. Piano two's left hand takes the viola and continues with the winds in the right hand. Measure 116: The diminuendo on the tmmpet note is not included. This would occur naturally on the piano. Measures 117ff.: Piano one takes the strings, which eventually must be divided between two hands. Piano two takes the conversational flute and bassoon. Measures 127ff.: I redistribute some parts (piano one takes the upper strings with its right hand) so that the dialogue between the clarinet and bassoon becomes a dialogue between two pianists: piano one's left hand takes the bassoon while piano two's left hand takes the clarinet and bass as well. Measures 131-132: Moving between these two measures is unavoidably difficult because of a large change in register. I was not able to eliminate this difficultly in piano two. A short breath may be appropriate between these measures. Measures 13Iff.: Piano one takes the melodic material here because piano two had it in the previous section. Piano one takes the oboe in the right hand and the clarinet in the left hand. Piano two takes the violin in the right hand and the viola in the left hand. Measures 139ff.: The flute goes to piano one's right hand, whose left hand continues with the clarinet. Piano two must take both the violin and viola as well as the pizzicato cello and bass. In measure 139, these parts are distributed as practically as possible between the two hands of piano two. Measures 141ff.: The simplicity of piano two's right hand (which takes the strings) make it practical to give its left hand the leaping bassoon part, which requires some concentration. Piano one continues with the winds, carefully distributed between the two hands. The sustained C^ in the tmmpet is interpolated into piano two's right hand by the addition of ties on the appropriate notes.

59 Measures 150ff.: This passage resembles measures 99ff. in distribution. Measure 152: The oboe is not included-it doubles the cello one octave higher. Piano one plays the flute and clarinet in the right hand with the cello in the left, while piano two plays the violin, viola and cello parts split between both hands. The accented chords in the brass double the other parts. I add accents to the existing parts in the pianos corresponding with these brass punctuations. Measure 153: Because of the thick texture, I transpose by octave and redistribute some notes: piano one's first and second notes, right hand, are taken from the flute and violin parts, while its third note is taken from the flute, clarinet and viola with the violins' C# transposed up one octave. Piano two takes the viola, homs, and bass, whose notes coincide with the tmmpet and trombone. Measures 154-155: The homs' melodic material goes to piano two, along with the bassoon. Piano one takes the pizzicato strings. Measures 156-157: The distribution here is made for the sake of good voicing. Stravinsky's p subito in the clarinet part is included in piano one, although I am not sure how this would be performed.

60 APPENDIX D

THEME VARIE

Stravinsky DANSES CONCERTANTES

61 in. Theme Varie Lento J .=5 0 r> 5 •t- I \. ^ r- ^ (clarinet) ^ ^ P ^ Lento J = 50 4 5 4 1 r^ 1 := f: J^, f f^k ^ ^ ^ :^ ^ mf cantabile /? subito

(winds) ^?N

7 k f 5 ^ ;^=^

' ' 3 3 T "*

3 * » q# ^ "V" />

652 3 1 4

5 ^ i #^ Eat E^: ir -# ^->. (tpt.) A ^ 5 4 3 2 12 6 f2- pi mp

6 A S P^ I ^^ P rt ^ 2 1 5

62 17 poco 5 I i -^ « (hom solo) dolce - cant. 1 (stnngsi poco 17 5 2 5 90 :^}± ^ i'} ^' •^ ^ ^w^ m 2 3 4 poco 17 1 -r-v:—0 ^ "—r> £ ^ S ^? 0-^ ^^ (strings) 17 I ^ J S Tp 7 im i ^ r (pizz.)

63 poco 22 poco ^ i>7|^^^"•TO|^^;1^^ ^m

22 poco /^. poco i $ r r f, ^^m ^m I k^ L^' !^

2 3 poco 1 4 22 2i 1 5 poco ^ J ^5 s ^^ J * * ^

22 f^ 5>^ll 5 I ^ ^ *^ ^' — ^ i 7 J'^ (pizz.) (pizz.) (pizz.)

2 27 poco poco poco s 1 ^ i -8- ^ •—3" poco poco 27 >^ poco > ^1 0'^ J7 P 3m i ?:

poco 1 2 27 P2P° ._^ 4 ,_ 3^1 poco

'^^»'^^[} y-

27 i ^^ $ ^ I^ tz: # (pizz.) (pizz.)

poco

64 31 poco poco ^ ¥ 5 E

•^ 0 . •:

2 1 ^ ?

2 poco 31 poco 0.1 0 p :?# i ^

31 ^T-Jf tr J J •^^—^ ? I 7 ^1 f

(pizz.) (pizz.) (pi/z.)

35 poco poco

^ •?»> ^.H poco poco 35

?p; 19- •^--Q- ^ I LJ 7 p ^ ii?:

mp ?XT

35 POCO,^—^ poco 4 5 4

^ ^ i^

7-r-$ ^^ i tfL. m (pizz.)

65 39 r^ <§^ ^' ^^ (strings)

^ ^ i ? ^^>

39 r?N te 4 ^ g ^ m ^ P (tpt.) m39

66 VARI Allegrettto ^'I^ 152

4 3 2 1

«j .... p (vlns.)

;^l'|> It ^ 1 !:

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poco^

^^^ :^ ^ $ I^ 7 J ^ •^=X ?=±r i i i

k^ ^ ±±: 7 J) fy- ^ -# •- VP

k 23t: ^^ ^ ? 7 J i^

67 ^=^

mf . • 13 k T -*^—i- m %

^3 ,«^^ > £: :^ :?: ^ J ^ W/ 13 k^ 1 ^ ^^ ^^ ^^ VP!

-^'b"l> ? p7- ? ^^ r^^ i^^

68 17

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17 S: ''\\> i 7 j' ^ 1==^ ^^ ^

21 ^^^S E^ r=? ^

21 ? ^ i fe ? ' 7 # ^' ° ^r TW/*

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21 ^ fc i=M ±3: -^'kh>^v ^ J 3 ^

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1 W^' \^

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f (strings) mf / 24

^ t i -90- -P<- ^^ 4^V i ^^ J w J J J 3 5

4 3 A 1 (^«* 30, ^ :2 •V- "•» 9- -9i9- 3^12: i^ nzf: ^ ij j ^

mf ./?> .^ fp ^ simile 30

•.<=^ -rr :zr ^

1? 2^ -# -6* r^ 4 30

J ^ ^ J i r) mf mf fp fp fp 30

^^ ^ ^ m w- ^ •y zr TTJtp

70 ^=^ 361 •(9- :z kfe ft :z >2 ^r^^^ 121 is:: T7 n: ife^ I ^^ :/ 36

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36 ^u -.-O- 3 rrs: ^f- .^^

3 2

71 2 12 4Gr\ 1 2 £ ^ I I :*£±: ^ ?/-;

^^ * ^ ^«^ t± O 7 hs

46 1 2 3 t m^ m i £ u^jy'iri^ ^w/ V^^ VJ

46 ^ .r^ O '^ ^ f pa* 15 P^

72 '"f , 4 3 5 5 3 1.3

52 ^s^-^ ^1 gF \'i'^ MM i i I rf rz ^ 52 /'ma marc 0 simile -3 ^ fe U r 52 i m ^kJ^ vr-^

52 Stacc. e marc, in 7? ^7N ^::^ 4^ g i'# iir ^ ^ f rr j'j'r?r'r^=ri ^

5 1 2 1 2 1 55 A ? 3E a I i ^ P ^^ y-

55 ^ i hj' -^ ^ H ? f! -^

S ^=3 * *| 0 0' '0 w^j <^«y *j V:==^ v-IV

55 feh»- ^ .^=i ==v- ks. ^ if [T^; f 9^/r^i^ p ^

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^ > 7 7 t t 7 p 7 ^ ^U i i s 58 . 152 i* J J J7r-^>^ iJJjj?^ ^ ^ms- ' I s * J * v^

58 (^S"-) ^^ ^ ^''i> j r ^ .

ma marc.

mf 63 •^t • • m0- k^ i ^

poco poco 63 :^ i^ ±=k ^

63 ^ y j>fi ^mm m V? ^ 63

9'il'|> i J i ^r i ^^ ^^ 9—7 ^^

74 ^ ^

^ ^ 1 4^''i^^J;_j^-? J^> JJ: J iffi+-> • 1- mf 67 :i h ^^ ^ 7 J' t -^-w ^ 7 ;^ 4

71 k^ E ^ 00 00 S j JTOi' ^ is J OT/ /

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71 -f—«- h ! JZE te ^ 1 0* ^^ J M J iE

75 VARII Scherzando J = U

5 3

semprey e marc.

i=at 0^ ^ rf ^ ± P

5 3 2 2 1 » » » ^ F ^ # '^ 3 fcS H 1- ^ ^ P i-r- / ^

^—^ =P^ te^ ± ^ 1 ss i :^ 4 5 1

76 3 3 y k J J P'^U-f ^^ mf (m.d.)

;>'tij^ i , U , i > K LT i h*': ifi: 3 3 /^ t^^ t^^ 5

y y i i ^^ ^ ?: w ^^ mf (bsn.) ^^'«|l" ? ? r==? i i \ i I

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13 ?^ ? d ^ij?|7 [i^ OT/* grazioso (vlns.)

13 grazioso ti^=^ S I ^ * i 5 2 marc. ^ 77 17 y 1 3 1 ^ 7± w zrnz:*^ y

p ma marc. 17

^ % ^ ^^ ^ ^^ J 2 2 12 3 1 4

17 tr , tr y ^ [P'0^0 i 7 L^ 1 J ^?r^i ^

y :at •.?^ ^^ y P^ # ^ p^ •V—r—^^n^"^ ? ^,

4 1 r> '/I 21 y->- t t= n i ^i# W ^ m i^^t^' 21 •• ti=fe ^^^ 2 1 £

21 6- tr ' 0. m. y i • ?=t^^ £ i ^

^ ^ ^ ^=^^ ^ ^ 78 29 ut ^ fca:S^fel±^ ^^ ^^ * 4» • • • H sforzati

4 2 5

4 3

29 A y-'^ —0- M ^ ,s-^ ^ ^^ i -^ V-f^ € ?/• /

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^^ ^3 S^ ^P ^ <^vU.

mp (winds)

33 4 3 2 4 3 2 1 ')'4^i ^c_^rj_r^ ^ ^ ^^ ^-^ il i 5 54 ,

41 y 0 * ^ 0—0 B ^ ^

41 ^tf V ^

y ^ ^ % ±=± a

y fJ *i V I i i •^^ ^^ TWp

45 4 5 4 5 y 5 ^ J T S^ ^ S^

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3 4 45 y ^S ^^ gfe J ^ fesp

poco a poco ac

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3 -^ 2 49 y 5 3 2 1 r^^i ce - le ran - do 49 i ^ -I 1- -i 1-

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y Ii ^=r ^=^ 1=T •> N V ± f ^

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56 hi A. gs 12^ ^ ^ 7 7 "^-P^ leggiero simile 7W/ (pizz.) 56 ^r . ^ ^ ^^ :^ 7 J- 7 *f F s r^-^^ ^ V^ poco^ f

61 y S ir ^ J ±=s=± ir ^ ^ T ¥

ben. ^ 61 #• OT/ ^Fy 5 S it •"!'' •> ij*^ 5 5£=ipi±^ 5 t^ ^5 t^ ^• f ^' ^^ k^ k^ Z0

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65 a ;5 P * * 3 i

65 ^ ^^y Si: fe IS: £ I ^ E 5*

I _i

•^::r (winds) PP

68 5 I ^y ^

68 y ON ^ ^ I ^ (strings) ^

68 f^ ^N ±

84 VAR III L Andantino J' = 104-108 5

Andantino ^i 104-108 poco y ^ ^ sub. PP (oboe) ^y t

.^^ u i ^ -i—I I ^^

'y'iji y^jJ^^-T

1 4 ilt t ^ sub. jDjO '^y *^Wt

85 5 2 1 u 5 12 5 3 1 ^ iJr'r:^ ^^jiJ ^ Si

poco 3 1 M J^ ± t ^^

^ ,iii ;J /

86 17 y \]i \]i i? I p«r^ p 17 i ''ff jtl^f '>'^ll"^>M"M"P-7 ^

17 y

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^ k=\ ^ ^^ I * ^ ^ i * 1^=?T=f^?=^ '-S^ 'H'^ ^^^ t \'

20 I I ^^——^ y ^ ^ ^ ^^ i^ s -#-B'—1-#^ ^p i ^^ "^^»'-'-^ r «? 1?

20 0 0 0 ^ ^ '>'¥rM"P^"P^^'^ ^^«

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30 M 0 trpr * 9> t J i IZIIZIE •^ 0\ f ^^gg ^ ^ i 3^

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30 h: N: 1 h=^ ^ ^ V I « >. -^—^^ ^':k0'l} ^ 7llf'7 "^ Ikf 5^ S I ¥ -^^—f- 2=c r ^r itr ^

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34 •V y ::^: ^ i Ib^ ^ 1j i I sf pocosfp (pizz.)

34 ^ 5B^ £ £ fe£ I ^=^ •> J? "^ ^ •» 5 sf

89 5 poco 38 y •I t , C' TX 12: sub.PP m p (oboe) ^38y

tj'tf^^v '^

42 ^y

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^ ^ ^ I ^ ^

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90 46 y m <\ m 46

^^ zuL M-

46 y A ^ sf

^tf - • » 1—

50 y ^^

50 ::5: ibu ^^ k::

50 h^^=^ r 50 y

5 3 3 5 4

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i ^ ^? ±i ti "^7 7 • 2^ s ±± ^7 ^7 ^-'7 •» H 'V 7 1 7 ^

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^ ^" 7 ^ r D 1=^ J ^

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I > ( 1 1 ^ m ^

11 • K - -w- fc ^ >>'LI' -b7 7 tt fcti5 p 7 7 «^ 7 7 5 7 7 f) 7 7 ^ -9 0 t± e i±

(s*-)-

2 1 11 3 3 2 1 3 1 3 2 1 k _S T S5 0\ ^ 0 e 1^t=5 : •—^—P ^ ? -i—t-

11 0^0 0-^-0. ^ e 234513 4321

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(8-)- 3 5 (pizz.) 16 3 1 E5 7 7 h £ i ^=^^^ i ^ sf come sopra 16 5? at ^^ ^; e Ti 2 2 ^ 5 •» (pizz.)

93 21 k t I fe h 7 r ^ ^

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marc, (bsn.) 26 7 i^r" 2 1 t r=^ |^<: jH r? ^ LD

26 ^fe ^^fftgjfs: 4 X ^^ s ±± ^^ > •^ tr ^^

94 31 £ i: ±=ti ^^ l^^ -0—z: ^ Jji'lJj'i''; •-- ^^ ^^

31 b b- b. tl ^i ±± tfc?^ 7 7[,J'75 7 77L77 7 7 i7-'![,'\:^ I 2=:

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96 ^A\^' r •nh\^ uf

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1 3 51 i* S ^^ I Jiii: -•• 0 f

51 £ ifi ^ T i J 5

7 7 h: 7 7 K7 7 F^ 7 7 h^ J' I f sffTlif 55 N h b fe -**-*<- ±± ^^ ±± ^7^=^ 5z± h7 7 ^J-'7 7^ '7 7 1 ^^=^ I

5 4 55 =7^?^ :3i^ r i" M/ js i ^ ^^ S 0 J0' ^ 0- ^ TW/* marc. < 55 f n ^g ^T^ ?• 77n £ S 3 2

97 k'' I 7 7 7 7 hr 7 7 h^ I ^

60 -K h ^ ^^^^ gie t ^S ')7 7 « ±± 7 7 h 7 7 7-^^ V i ^

c 4 5 4 60 4 3 2 1 1 3 2 1 ±:± £ ^ -T-7- ^ 0~z: ^ ^ r^i^ ^^

60 J £ J ^ ^•*J- ^m -^«»*^ 5 2 3 1 1 65 ' 2 ' i ^ ^ -0~»7 :rr ^

ff (tutu) simile

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99 Notes to Theme Varie Lento Measures Iff.: The G of the clarinet is tied from the previous movement. Because piano one has this note, the entrance of the flute on the same note goes to piano two. Piano two also takes the oboe. Measures 6ff.: The bassoon, bass and cellos have the same notes, with the strings playing pizzicato. Piano one takes these parts, and I add portato articulation (slurred staccati notes) to simulate the effect of these combined articulations. Piano two's left hand takes the violin and viola. Measures 9ff.: The trumpet melody goes to piano two (I add the dynamic mp to insure that this material properly voiced). Piano two also takes the violin G's for the sake of voicing these notes much softer than the oboe and clarinet parts, which both appear in piano one. The hom is doubled by the oboe in measure 9. Measure 10: Piano one takes the hom and viola in the left hand. Measures 1 Iff.: The articulation is similar to measure 6ff. Measure 15: The string quartet writing goes to one pianist in order to preserve its homogeneous expression. Piano two takes these parts, thus setting up piano one's hom solo. Measures 17-20: The hom solo goes to piano one, left hand. Measures 19-20: Piano two takes the oboe and clarinet. Measures 21-36: Both pianos play this passage written for strings and timpani: piano one takes the cello in the left hand and the viola in the right, piano two takes the bass in the left hand and the violin in the right, as well as the occasional timpani notes, which lie close to the bass part. The distribution changes between the hands depending on the register of the individual part (e.g., measure 22, piano one). I add "(pizz.)" to every pizzicato bass note in this section. Measures 22 and 24: The down-bow indications of the strings are changed to accents in piano one and piano two. Measure 26: The timpani's C occurs simultaneously with the basses', causing a more accented note. I eliminate the indication pocc> on

100 the accent in the bass part. The articulation on this note is therefore a full accent plus staccato, which more accurately reflects the orchestra effect. Measure 31: The down-bow indications in the strings are changed to accents. Measures 36-37: Piano one takes the oboe melody (this answers the melody that piano two carried in the previous section, measures 21-36) as well as the clarinet. Piano two takes the homs and bassoon. Measure 38: Piano one alone takes this G^ major chord for the following reasons: any ensemble problems are eliminated by having one pianist play this chord; because piano one had the hom solo, measure 17ff., I give the trumpet solo, measure 39ff. to piano two, thus piano one's chord here in measure 38 creates an interplay between the two pianos in a fashion not unlike the orchestral interplay between the strings and tmmpet (as well as between the strings and winds in the previous measure). Measures 39-41: Piano two takes the trumpet solo in the right hand. Piano one takes the strings in both hands.

Variation I N.B.: Throughout this variation, practical performance of the repeated notes is an important factor in distributing the parts. Measures 1-23: The hom has the solo. The other instruments accompany or comment. The trombone, cello, and bass together generate a bass part. Piano two takes these parts with the left hand. The changes I make in the articulation reflect ih.t pizzicato indications in the strings: all pizzicato notes are marked with an accent and staccato (I do not give each note a "(pizz.)" because this would unnecessarily clutter the score.). The effect of longer and shorter notes occurring simultaneously is a vital characteristic of this section. To make this possible on two pianos, one piano must takes the long note and another piano must take the same note, but as a staccato note. This is possible, and is also practical if the hom's melody is shared between the two pianos: In measure one, this melody begins in piano two, right hand; in measure three, it goes to piano one, left hand; in measure seven, to piano two, right hand; in measure 13. to piano one, left hand; in measure 17, to piano two, right hand; in measure

101 18, to piano one, left hand; in measure 19, to piano two, right hand; in measure 20, to piano one, left hand; in measure 21, to piano two right hand; in measure 22, to piano one, left hand; and in measure 23, to piano ij^o, right hand. Whenever the hom melody switches between the pianists, I add a diagonal line to the score to indicate its movement. Instances occur where successive repeated notes are divided sequentially between the pianists (e.g., measure 17-18), this division also requires that the hom's melody be switched between the pianists. The remanding instruments of this section are distributed as follows: in measures 1-2, piano one takes the violins and clarinet; in measures 3-4, piano two takes the violin and viola; in measure 5, piano one takes the flute; in measure 6, piano two takes the clarinet; in measure 7, piano one takes viola, violin and the trombone (the high D^, second beat); in measures 8-9, piano one takes the viola; in measure 10, piano one takes the clarinet, in measure 11, piano one takes the violin; in measure 12, piano one takes the clarinet; in measures 13-14, piano two takes viola and violin; in measure 15, piano one takes the flute; in measure 16, piano two takes the clarinet; in measure 17, piano one takes the viola and violin; in measure 18, piano two takes the trumpet (see previous paragraph for additional notes on these measures 17-18); in measures 19-23, piano one takes the viola and violin while piano two takes the trumpet. Measure 18: The/?/? in the tmmpet part is not included. The tmmpet's volume is generally louder than the other parts and sounds equal in volume to them. Measures 24-32: Piano one takes the sustained notes of the winds, tmmpet and trombone, while piano two takes the pizzicati of the strings. This is another example of both long and short notes occurring simultaneously, with both pianists playing them. Some of the dynamics applying to individual notes (e.g., the bassoon and tmmpet in measure 28) are not included. I use the dynamics of the winds and strings as they apply to the larger picture (altematively^,/, and mf) Measures 33ff.: Piano two takes the homs and trombone (they are out of pianos one's range at this point).

102 Measures 35ff.: The pizzicati retum: piano two leaves the homs takes these string parts along with the sustained trombone. Piano one continues with the winds and takes over the homs. Measure 40: I maintain the general division of string/winds, piano two/piano one as begun in measure 24 by giving piano two the arco string chord which finishes diis section. Measures 42ff.: Because piano two had the bass parts at the beginning of this variation, I now give them, in the form of the bass and cello, to piano one. As before, the pizzicati are indicated by the addition of staccati. I also add the word "simile" in measure 44, piano one, left hand to clarify these articulations. Piano two takes the bassoon in the right hand and clarinet in the left. Measures 42-43: Piano one takes the chords in the tmmpets and homs. Measures 43-55: Piano one takes the melody of the violins. The viola is not included: it is an octave doubling of the violins for the most part, and if included, would tum a grazioso-leggiero melody into a Lisztian bravura passage in octaves at the piano, which would not be desirable. The down-bow indications are changed to accents in this part. Measures 48-50: Here the flute and violins begin a conversation. It would be good to have the pianists begin a conversation as well. How e\ er the parts must be redistributed, since piano two is occupied with the bassoon and clarinet, and would have too far a register change to successfully negotiate the flute's entrance. At this point, piano one has momentarily finished the violin part. Therefore, piano one begins the dialogue, taking the flute's pickup to measure 49. Piano two answers with the violin's response and also takes the clarinet and homs. The oboe coincides with the flute. Measure 51: Piano one takes the violin and bass parts. Piano two takes the flute rather than the clarinet (they are in octaves) for reasons similar to those outlined in the note to measures 43-50. Two notes of the pizzicato chord of the violas goes to piano two, left hand (the C^ in the violas is the same note as the violins', which piano one has).

103 Measures 52ff.: The distribution is the same as in the measure 42. Piano one is able to take the homs in measures 54. Measure 57: Piano one continues with the violin and bass while piano two takes the homs. Measures 58-61: Piano two takes the bassoon. Piano one continues with the cello, v/hose pizzicati are indicated by the addition of staccati. Measure 61: A shorter note in the bassoon, third beat, coincides with the hom's longer note. Since piano two plays the bassoon, piano one begins the hom melody. Measures 62-74: The hom melody is shared between the pianists (see notes referring to the beginning of this variation): In measure 62, this melody goes to piano one, right hand; in measure 64, to piano one, left hand; in measure 68, to piano one, right hand; in measure 69, to piano one. left hand; and in measure 72, to piano two, right hand. The bass parts (in the form of the cello, trombone and bass) go to piano two, left hand. As before, pizzicati are indicated by the addition of staccati. The remanding parts are divided as follows: in measure 62, piano two takes the violin; in measure 63, piano two takes the clarinet; in measures 64-65, piano two takes the viola and violin; in measure 66, piano one takes the flute; in measure 67, piano two takes the clarinet; in measure 68, piano one takes one of the trombone's notes (D^ ) and the low viola C, while piano two takes the other viola's and violin's repeated notes; in measure 69, piano two continues with the lower strings; in measure 70, piano one takes the flute in the right hand and a combination of the violin and bassoon in the left, while piano two takes the viola; in measure 71, piano one continues with the flute in the right hand and a combination of the violin and bassoon in the left while piano two takes the tmmpet; in measure 72, piano one takes the violin; in measure 73, piano one takes the viola and the trumpet (this time divided between two hands rather than two pianists); in measure 74, piano one takes the flute in the right hand and a combination of the violin and bassoon in the left while piano two takes the viola.

104 Measures 70 and 74: The repeated notes (in the flute) are now in the upper register. The change of register (especially in measure 74) and the angle of the right hand make these notes unusually difficult to play. I change these two passages so that piano one plays a tremolo between the higher A^ and the lower one (which coincides with the violin), thus simulating the effect of the repeated notes.

Variation II Measures Iff.: The oboe, tmmpet and violin form the melodic material. Piano two, right hand, takes these parts, along with the bassoon in the left hand. Piano one takes the arpeggios of the viola and cello. The high F^ of the flute is out of the range of either pianist-because this note colors the lower F^ of the melodic material, I do not include it-this also applies to the higher A of the clarinet, which is also in the violin, one octave lower. The sforzato of the bass note, which coincides with the cello's first note, is included in the cello part, piano one, left hand. I add accent and staccato marks when pizzicati occur on notes in other parts (e.g., measure one, beat 2, violins). Measure 2: The interplay between the strings and bassoon becomes an interplay between piano one and piano two. Measures 5-7: The homs and violins are in octaves, and these parts both go to piano two. The sixteenth-notes of the strings stay with piano one. Measure 8: The distribution is the same as in measure one. Measures 9-11: The distribution is the same as in measure two. Measures 11-12: Piano two takes the bassoon and timpani: because piano one had a significant amount of the melodic material in the previous variation, I now set up these measures to allow piano two to take the melodic material of measures 13ff. (in the violins). I add a "m.s." (left hand) suggestion. Measures 13-16: Piano two takes the violin in the right hand, and the oboe (whose notes follow the violin's) and viola in the left. Piano one continues with the sixteenth-notes, although they now are taken from the clarinet. Piano two also takes the cello. The pizzicato indication in the

105 orchestral score translates as added staccato markings on the appropriate notes of the cello and viola. Measure 16: The trombone's answer to the violin and viola motive in the previous measure appears as piano one's answer to piano two. Measures 17ff.: Piano two continues with die melodic material of the violin and oboe (right and left hand, respectively) while piano one continues with the sixteenth-notes, now found in the clarinet, bassoon and flute. Measure 19: I give the trombone to piano two now because piano one is out of its current range. Measures 20-21: Piano two's continuation of the melodic material gives it the violin and viola. Piano one continues with the sixteenth-notes of the winds. Measures 22-23: Piano two continues with the violin and viola, now taking these parts with the right hand so it can also take the bass and cello pizzicati, which as before are marked with added staccati. Piano one continues with the winds. The oboe in measure 22 is not included (it is an octave doubling of the violin and there are no more fingers to play it). However, it is included in measure 23, in piano one, left hand, which also has the clarinet. Measures 24-25: Piano one continues with the flute, piano two continues with violin. It can also take some of the sixteenth-notes because the viola part, which it was previously playing, drops out. The clarinet is closest to piano one's previous position-it goes to piano one, left hand. The bassoon is closest to piano two's previous position—it goes to piano two, left hand. The oboe notes of measure 24 are not included for the same reason I gave in the previous paragraph. However, piano two takes the oboe in measure 25. Measures 26 and 28: The down-bow indications in the violin are changed to accents. Measures 26-28: Piano one's right hand takes the oboe while the left hand takes the clarinet at the end of this measure. Piano two continues with die violin and takes the viola, which enters again, in the left hand.

106 Measures 29-32: The high B in the oboe coincides with the violin. The last part of measure 29 sees piano one taking over the clarinet in the right hand while the left hand takes die bassoon. Piano two can conveniently play the string, brass, oboe and flute parts, whose material lies close enough to be taken by two hands, and coincides rhythmically. The last two notes of the oboe in measure 31, as well as those in measure 32, go to piano one, right hand (they are out of range of piano two). The last half of measure 31 sees the clarinet part going from piano one, right hand, to piano one left hand. The trill of die violin in measure 32 makes the viola part inaccessible to piano two, right hand. These viola notes are an octave doubling of the violin, and are not included (piano two, left hand, must cover the bassoon.) Measures 33-36: Piano one takes the tmmpet and trombone, while piano two takes the violin and viola. The bassoon doubles the viola in measures 33-34. Piano one takes the bassoon in measures 35-36. Measures 36-48: Piano two had the melodic material in the previous section, which now leads me to give piano one the soli violins. These parts can all go to the right hand, while the pizzicati cello and bass go to piano one, left hand. The pizzicati are indicated with the addition of "pizz." and "simile." The thirty-second-note arpeggios (flute and clarinet) go to piano two. Occasionally, the soli violins' range becomes larger than piano one's single hand can manage. In these cases (e.g., measure 38, first beat), piano two takes the unplayable note. Measure 44 finds it possible to play this note with piano one's left hand. Measure 41: The parallel chords formed by the oboe, clarinet and bassoon are easily played with one hand, and they go to piano two, left hand. Measures 45-48: The conversation between the strings and winds translates as a conversation between piano one and piano two. Measures 49-50: Piano one requires two hands to play the chords formed by the violins. The cello and bass dierefore go to piano two, left hand. Measure 51: The crossing of voicings here make them easier to play by redistributing the parts between both pianos. Piano one, right hand

107 takes the clarinet for die whole measure. Piano one, left hand takes die bassoon, which is close to its previous viola part, on die first beat, and then switches to the oboe on die second beat. Piano two, right hand takes the oboe on die first beat, switching to die bassoon on die second beat. The bass and cello stay in piano two, left hand. Measure 52: The distribution is die same as the beginning of this variation. Measures 56-58: Because I will give the strings to piano two in measure 59ff., I now give the bassoon to piano two, left hand, so that it will be in the same register as the bassoon and trombone, which it will be playing in measures 59ff I add "simile" to clarify the character in these measures. Measures 59ff.: The violin trills and clarinet part are accessible to piano one, right hand. Piano one, left hand takes the viola trills. Piano two takes the bassoon and trombone in the left hand and the off-beat eighth- notes of the winds, homs and tmmpet in the right hand. The flute is coincident with the violin, while the oboe is coincident with the viola. Tlie individual timpani notes go to piano one. Piano one also takes the cello. whose notes are an octave below the viola and violin. Measure 63: I average the variety of dynamics into those found in the cello {mf). Measure 66: The timpani E goes to piano two, right hand. Piano one cannot take this note because of its register change-it takes over the melody in the winds, thus simulating their answer to the strings by answering piano two. Measures 66-67: Piano two takes the bass line (last note of the measure) as found in the bassoon, trombone and timpani (piano one is occupied with the winds). Measure 68: Piano one takes the bass notes-it is easier for piano two to find the string chord on the second beat without playing diem. Piano one can then easily find the wind and hom chord which ends the movement.

108 Variation III Measures 1-16: The general nauire of diis section is that of a conversational duet between oboe and clarinet (widi some bassoon). I distribute diese parts to create a duet between the pianists: piano one takes die clarinet beginning in measure one; die oboe's answer to the claimet in measure four becomes piano two's answer to piano one, etc. The bassoon goes to piano one (its range overiaps die oboe but not die clarinet). I combine die oboe and flute parts in measure 6 (the oboe colors the flute here). The flute part as it appears in piano two's right hand therefore is tied to the longer tone of the oboe. Measure 16: The final C^ of the oboe (piano two) coincides with the beginning of die tmmpet's. I tie diis note into die next bar, following the tmmpet's part. Piano two is now in posidon to take the string parts in the next measure. Measures 17-21: The clarinet and bassoon parts combine to fomi a melodic contour similar to diat of the upper strings. Piano one takes these parts, while piano two takes the strings. Measures 20, 22 and 23: Piano one and piano two shares any of the following parts, depending on their melodic contour: bassoon, clarinet, and violin. Measure 24: Piano one takes the clarinet and bassoon in the left hand-this leaves the right hand free to take die the viola in measure 26. Piano two takes the viola and violin for the first beat. The graceful quality of the violin and viola passage on the second beat (the 32nd-notes) would be disturbed if piano two attempted their material as it appears in the orchestral score (in octaves). I leave out the violas lower octave here. Measure 25: The lower octave of the violas is included-its less active rhythm here make it possible for piano two to perform these octaves (with the violin part) gracefully, without inappropriate bravura. Measures 26-30: Piano one can take the homs in its left hand, whose rhythm is the same as its bassoon part. Piano two continues with the cello and bass. The different note values and articulations (bass eighth-notes, pizzicato, plus cello sixteenth-notes, arco staccato) are averaged together to equal staccato 16th-notes, which are consistent with the previous section

109 (measure 17ff.). To make the articulation clear, I eliminate die simile found in the score, and write in individual staccati over die notes to which this direction applies. Measure 26: The 32nd-notes of die violin and flute are best played by two hands. Piano one should stay widi it hom and bassoon 16di-note in the left hand for the sake of rhythmic stability. Since piano two has been widi die violin part is this section, I give die violin to piano two, right hand. Piano one can take the viola. Measures 27-28: The flute and clarinet 32nd-note answer to die strings' 32nd-notes in the previous measure leads me to give to the opposite piano the upper line here, so piano one now takes the flute while piano two takes the clarinet. Measure 28: When the violin and viola enter, dieir notes coincide with the flute and clarinet parts already begun one octave higher. The rapidity of this passage makes it unwise to attempt an inclusion of these strings parts here. Measure 29: Piano one continues widi the violin and viola (the last part of measure 29 along with measure 30 resembles measure 24 in its distribution. Please see note to measure 24 conceming the lower viola octave 32nd-notes). Measure 30: The clarinet goes to piano two right hand. Measures 3Iff.: The distribution begins in the same fashion as measure 23. Measure 35: The homs enter on the same note of the violas. I tie these parts together in piano two, right hand. Measure 36ff.: Piano one takes the clarinet solo as it did in the beginning of this movement. The duet between the oboe and clarinet and later between the bassoon and clarinet becomes duet between the pianos, as before. Measures 47-48: Piano one, right hand, goes from the clarinet's 16th-notes to its answer to piano two, the clarinet melody in measure 48. Piano two, who had been playing the oboe's part in measure 47, switches to the bassoon in measure 48.

110 Measures 50-53: Because piano one was last to play die lyrical clarinet of measures 48-49,1 now have piano two take all diree soli violins. To prepare piano two, I have piano one take over die bassoon part so its last note can be sustained, along with the sustained clarinet C^'s.

Variation FV Measures 1-9: The driving compound duple rhydim formed by the cello and bass playing against die off-beat homs, violins and violas is best driven home by one pianist. Because piano two had been playing many of the bass and cello notes of the previous variation, I now give the lower notes to piano one (the bass line is formed by the timpani, cello and bass), who therefore will take the off-beat chords as well. Piano two takes the higher string notes of the open chord as well as the timpani Bb, which I distribute in octaves for die sake of a strong opening. The distribution of the opening chord is designed to aUow piano one easy access to the rest of the measure. Piano two takes a combination of the oboe, bassoon and trombone parts. Measures 10-18: The string chord goes to piano one (its down-bow indication is changed to an accent), who then condnues with the clarinet, whose first note of this measure is part of the chord. Piano one's left hand continues with the lower bass lines. Piano two takes the flute and oboe with both hands. Measure 18: Piano two takes the sforzato string chord on the last note of the measure, thus allowing piano one to beginning the opening rhythmic pattern found in measure 19 securely. Measures 19-21: The distribution is the same as the beginning. Measures 21-27: One piano should play the parallel chords formed by the homs and tmmpet because of the cross-rhydimic strings and winds which appear in measures 25-26. Piano two's two free hands take these parallel chords, distributed so that the trumpet alone goes to die right hand (it sounds loudest in the texture) and the homs go to the left hand. Piano one continues with the bass notes here and takes the chords of measures 25-26 in the right hand, although not all of the viola notes are possible to

111 play-some coincide widi die brass', while one can be taken by piano one, left hand (measure 26). These viola notes appear one octave higher in the clarinet and their exclusion is not consequential to any loss of harmonic or textural clarity. Measure 27: The bassoon part can best be played by piano two because it lies near its range. Later I retum die bassoon part to piano one to simulate the conversation between it and die upper strings/oboe/clarinet, which go to piano two. Measures 28-35: As before, the bass line is off-set by die chords in the homs: these parts stay with piano one. The legato strings, oboe and clarinet coincide. These parts go to piano two, both hands, while the bassoon's answers to them go to piano one, right hand. Measures 36ff.: This new section in G^^ major allows the opportunity to allocate the bass, cello and timpani to piano two for the sake of variety. The vigorous energy and boisterous quality demand the octaves of the cello and bass be distributed as octaves in the left hand of piano two. Piano two also takes the homs and tmmpets for the same reasons piano one took these two parts at the beginning of this variation (see note to measure one). The winds and upper strings are rhythmically coincident. Piano one can take all these parts. Measure 42: The leaps of piano two can be taken conveniently with two hands because the homs are not playing. Measure 43: The tmmpet and trombone C^ coincides with the cello and basses. I combine these parts, tying these notes together. Measures 47-49: The distribudon remains the same as the beginning of this section: winds and upper strings to piano one, homs and lower strings to piano two. Measures 50-54: To simulate die conversadonal effect between the strings and winds I give all the strings to piano two and all the winds to piano one. The tmmpet in measure 54 punctuates the bassoon part: I add tenuto markings on the coincident notes. Measures 55-65: Although the opening chord is slightly different, the material and distribution is the same as die beginning of this variation.

112 Measures 64-65: The trumpet entrance is very loud in die orchestral texture. This part alone goes to piano one, right hand (piano two is occupied widi die clarinet and bassoon parts here). The timpani and trombone are combined into piano one, left hand. The bassoon goes to piano two, left hand. Measures 66-71: This thick-textured ending caused me to leave out some notes: practical considerations directed some of these choices. The following notations refer to the repeating triplet figures, all of which are idendcal in distribution: The second note of die bass's triplets could not be included. Piano one, left hand takes the other bass notes. The first two notes of the cello's triplets go to piano two, left hand, while the last notes appear in piano two, left hand. The first two notes of the viola's triplet go to piano one, right hand, while its last notes could not be included. The violin goes to piano one, right hand. The timpani and trombone go to piano one, left hand. The homs go to piano two, left hand. The bassoon is distributed as is the cello. The clarinet, oboe and flute all go to piano t\\ o, right hand.

113 APPENDIX E

PAS DE DEUX

Stravinsky DANSES CONCERTANTES

© 1942 by Associated Music Publishers, Inc. © assigned to B. Schott's Soehne, Mainz 1946 © renewed B. Schott's Soehne, Mainz This version © copyright 1994 by B. Schott's Soehne, Mainz AU Rights Reserved Used by permission of European American Music Distributors Corporation, sole U.S. and Canadian agent for B. Schott's Soehne, Mainz

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133 Notes to Pas de Deux Measures 1-3: The interweaving of parts made it necessary to pa\ close attention to doubled notes. The flute is divided between the pianos. Piano one crosses hands to play the repeated thirds created by the crossing of the flute and clarinet. Piano two takes the strings, although some of the notes in the cello appear in piano one. The timpani's F in measure two is not included — its purpose is more of accentuation than of pitch content. Therefore, I use the G in the basses as the lowest note in this measure. The dynamics in the pianos follow those generally outlined in the score. The first besii forte is followed by three beats of piano. Measure 3: Piano two takes the bass, cello, viola and violin for the first two beats. On beat three, piano two begins the clarinet melody. Both pianos hold the string chord from the third beat forward in order to simulate both the sustained and piano quality of these notes. Measure 4: Piano two continues with the clarinet and violin. Measures 5ff.: Unfortunately, it is not possible to have a duet among the pianos to simulate the duet between the oboe and clarinet. The parts in the strings must be dealt with, and they overlap both these woodwinds parts. To further compHcate matters, the oboe and clarinet themselves overlap each other. However, the rhythm of these woodwind parts is similar. In order to allow their parts to be played with a singing tone, unencumbered by the strings (which are marked "accompanying"), 1 give them both to one pianist. Piano one therefore takes the oboe and clarinet here. Although these parts cross, I do not switch the parts from hand to hand (i.e., the right hand only taking the highest notes). I give the right hand the oboe and the left hand the clarinet. In performance, this will translater (hopefully) into two individual melodies, each possessing their own characters just as each hand possesses its own character. Piano two takes the strings. Thus piano two can be "accompanying" while piano one can concentrate on being "cawr." (cantabile ) as indicated in the orchestral score. Measures 6-11: Some of the octave leaps in the cello are not included (e.g., measure 7, beats two and four). They would generate

134 octaves in piano two's part (piano two is also taking the bass here) which would be awkward and uncharacteristic in this subdued section. The articulation of these parts, found in piano two's left hand, follows the cellos'. The cellos staccato, when applied to the piano, successfully takes into account the pizzicato bass notes on the second and fourth beats. Measure 10: Piano one takes the homs' solo (piano two is occupied with the strings). Measure 11: The trill of the clarinet is easy to execute if one hand takes it alone. Piano two takes the clarinet, as an answer to the homs of piano one in the previous measure. Piano one takes the other winds. The cello and bass stay with piano two's left hand. Measures 12-16: This section parallels measures 6-11. I switch the parts, so that piano one now has the accompanying strings and piano two takes the oboe and clarinet duet. Measure 15: The homs' solo go to piano two this time, since piano one is now occupied with the strings. Measure 16: The omamental quintuplets of the oboe and clarinet can be best executed if they are divided between the pianists. Piano one takes the clarinet while piano two can take the oboe along with the flute and bassoon. Measure 16-17: The last note of the clarinet's part (C^) coincides with the first violin's C^. Therefore it is convenient for piano one to continue with the violin and consequently the other strings, which share the same rhythm as the violin. Piano two takes the clarinet and the bassoon. Measure 18: Piano two continues with the clarinet and bassoon in the left hand while taking the flute and oboe in the right. As in measure sixteen, the quintuplets are divided between the pianos. Piano one takes the clarinet on the third beat: the clarinet begins where the violin leaves off (on £)), which piano one was playing until now. Piano two continues with the flute and oboe. Measures 18-21: On the last beat of measure eighteen, for the sake of variety, I switch the parts so the that piano two now takes the strings and piano one takes the melodies of the oboe and solo violin. (Compare the

135 similar passage from beat four of measure 16 dirough beat three of measure 18.) Measure 21: To simulate the poco sforzato piano subito chord on the second beat, I have both pianos play it: one plays piano and sustained, while the other plays it short and accented. Piano two plays the chord sustained so that it may hold the violin's G which is tied into the next measure. Piano two takes the melodic material of die violin in the next section because piano one has the melodic material previously (measures 19-21). Measures 22-38: Piano one takes the clarinet ostinato throughout this section. The distribution of the other parts is related to piano one's obligation to this part. Measures 22-30: Piano two takes the melodic material of the vioHn solo and trombone. Piano one takes the clarinet, cello and bass. Although the cello and bass have the same notes, the cello plays pizzicato quarter- notes at mezzo forte, while the bass play arco half-notes 2^. piano. Combining these dynamics, I indicate a mezzo piano here and add accents to each of these notes to simulate the effect of the cello pizzicato. Measure 28: The homs' and bassoon's entrance goes to piano two (piano one has its hands full of clarinet notes and lower string parts). Measures 29-34: Piano two takes the upper strings and oboe, whose parts are rhythmically similar, and also continues with the bassoon and homs. Piano one can take the trombone's entrance in measure 30, whose notes coincide with the lower strings. Some of the hom notes of measures 30 and 31 appear within the texture not as quarter-notes, but as eighths, which coincide with the string parts, which piano two is also playing. Measures 34-38: Piano two continues with the homs and bassoon. Measures 36 through 38 is one of the few places in the entire work that I was not able to include several parts: after careful Hstening to Stravinsky's recording, I decided to leave out the flute and oboe parts. Piano two takes the violins and violas, whose parts predominate in the texmre. Measures 39-43: Piano one, having accompanied in the previous section, now takes the melodic material, first found in the tmmpet, which goes to its right hand exclusively. Piano one takes the trombone as well.

136 _^

Piano two takes the clarinet and bassoon. I have arranged these overlapping parts so that the right hand takes the highest notes of the two parts, regardless of which instmment has that part. (These parts are not melodic solos, as were the oboe and clarinet duets in the previous sections. See note to measures 5ff.) Measures 44-49: With the pick-up to this measure, piano one continues with the melody of the oboe. Piano two takes the other parts (homs, clarinet and bassoon). Measures 50-55: The distribution is the same as measures 39 through 43. Measure 55: The combination of a sustained p/ano chord in the winds and a sforzato pizzicato chord in the strings leads me to use a similar effect as found in measure 21. Piano one takes the winds' sustained chord at piano while piano two takes the same chord as an eighth-note sforzato. Measures 56-59: The overlapping of woodwind parts affected the distribution. Piano one takes the sustained chords through measure 57 (formed by the trombone, tmmpet, homs, bassoon and oboe). In measure 58 through 59, piano one continues with the oboe and bassoon while piano two takes the tmmpet, hom and clarinet. Measures 60ff.: Piano one finishes the oboe. The end of the oboe's line coincides with the beginning of the sustained tmmpet's C, which piano one conveniently plays. Piano two has the flute solo. Measure 62: Because the piano as an instmment does not sustain as the tmmpet would, I have piano one repeat the tmmpet's sustained C in measure 62. This point in the score coincides with piano two's C Measures 63 and 67: I divide the flute between the hands of piano two to make it easier to play the correct articulation. Measure 66: I write the combination of pizzicato sixteenth-notes in the strings and a thirty-second note in the tmmpet as a thirty-second note in the piano part. Measures 68-70: The strings and winds are arranged in clear sections. Piano one takes the strings while piano two takes the winds. I do

137 not include the diminuendo markings in the sustained wind chords because the piano cannot do this (besides what would occur namrally). Measures 71-74: Piano two continues with the winds. Good ensemble is easier to achieve with the flute and clarinet's thirty-second notes if piano two stays with both parts, one in the right hand and one in the left. Measures 75-99: Throughout this piu mosso section, the rhythmic ostinato, which begins with the homs and later moves to the strings stays with one pianist. This insures rhythmic stabiHty, which is essential to this section. The distribution of the other parts is affected by this decision. The bassoon and bass parts coincide. I combine them to form piano two's left hand. Because the melodic passages of the solo flute went to piano two in the previous section, I now give the melodic material to piano one. Piano one takes the violin in the right hand, and sustained viola and cello in the left. Piano two takes the rhythmic homs in the right hand and the bassoon and bass in the left. Measure 77: I add ap [iano] indication, which is necessary if the performers repeat this section. See note to measure 93 conceming the repeat. Measures 78 and 91: The octave leaps in the bassoon are reduced to the same octave in piano two's left hand for the sake of easier execution. Measures 82-83: The rhythmic ostinato is taken over by the strings. Piano two takes these strings parts. Measure 84: Piano one continues with the melodic material as it appears in the tmmpet. Measure 86: Piano one now takes the flute and oboe, which continue from the trumpet's melody. Measures 87-89: Piano one can take the sustained notes in the viola and cello. The half-note G^ of the cello is transcribed as a quarter-note because on the second beat of the measure the oboe plays the same note. Piano one re-plays this note. The high B^^ of the oboe in measure eighty- nine is not included because it doubles the held B^ of the flute.

138 Measures 87-90: The crossing of the woodwinds make it difficult to notate the slurring exactly as it appears in die orchestral score. The slurring in piano two is designed to sound similar to the original. Measures 90-91: Piano two stays with the rhythmic ostinato, now in the viola and cello. (Piano two is still playing the bass and bassoon combination in the left hand.) Piano one continues with the melodic material as it now appears in the violin and oboe. The clarinet can go to piano one, left hand. Measures 92-96: Piano two stays with the rhythmic ostinato, now in the homs again. Piano one takes the melody of the violin and viola. Measure 93: The repeat does not appear in the score. Stravinsky takes the repeat I include in the piano version on his recording. Measures 97-98: The winds and tmmpet lie close to the range of piano one, who takes these parts to finish the section. Measure 99: The sustained chord of the winds and brass goes to piano two, while the pizzicato chord goes to piano one. I add staccato marks to the pizzicato chord. Measures 100-118: Because piano one played the melodic material in the previous section, I now give the melodic material to piano two. Measures 100-110: Piano one takes the bass, bassoon, and clarinet, which lay the rhythmic foundation for this section. Although Stravinsky marks stacc. at the beginning of the bass part, I do not include this marking. Instead add staccati over each of the note affected by his general term. This makes the piano score clear. Piano two takes the soli hom through measure 107, at which point it takes the trombone. Measure 110-114: After taking the sixteenth-notes in the strings. Piano two continues with the melodic material, now found in the solo violins. Piano one continues with the bass part, now in combination with the trombone, and takes the homs and bassoon, which together form an accompanying figure. Measures 111-118: I combine the trombone and bass to form piano one's left hand. These notes follow the trombone's notation (as eighth

139 notes, staccato) even diough the basses' notes are notated as quarter-notes: The bass is still following its stacc. direction in measure 100. Measure 115-118: Piano two stays with the melodic material, which is now in the winds. Piano one continues with the homs and bassoon in the right hand and the bass and trombone in the left. Measure 118: The sustained chord formed by the strings goes to piano two. This gives piano one its mm with the flute's solo 32nd-notes, which I divide between the hands. Measures 122-123: I do not include the indication, sub. pp, of the strings because the piano cannot do this on a sustained note. For the same reason, I do not include the poco crescendo indication of the strings in measure 123. Measure 124: The distribution is similar to measure six, thereby retuming to the first distribution of these three parallel sections, measures 6-11, measures 12-16, and measures 125 through 130. Measure 131-136: The overlapping of parts affected the distribution. Piano one takes the solo clarinet. Piano two answers in measure 132 with the oboe. Piano two can take the bassoon during the first part of measure 133. Since the flute and oboe overlap the clarinet part in piano one, they go to piano two, beginning in measure 133. The flute's last note coincides with the violin. I give the violin to piano two, along with the viola and cello, who are playing the same note. Piano one takes the pizzicato bass of measures 135-136 to finish the movement.

140 APPENDIX F

MARCHE-CONCLUSION

Stravinsky DANSES CONCERTANTES

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146 Notes to Marche-Conclusion Measures 1-23: These measures are a repetition of the first movement. Their distribution is the same. Measure 24: Piano one continues with the oboe and tmmpet in the right hand and the trombone and viola in the left. Piano two continues u ith violins and one note of the viola in the right hand and the bassoon and bass in the left. Measure 25: The oboe, clarinet and bassoon trio cannot be easily played by one pianist. Piano two takes the oboe and bassoon-these parts do not collide. Piano one takes the chord tones from the strings on the first 16th-note of the measure and continues with the clarinet. Measures 26-27: The dialogue between strings and woodwinds can now become a dialogue between pianists, with piano one starting on the first beat with the strings while piano two continues with the winds. The homs, with grow out of the texture formed by the winds, go to piano two. Measure 28: Beginning with the second eighth-note of the measure, piano one continues with the winds. The homs and tmmpet form a section which goes to piano one. Measure 29: The down-bow indication in the lower strings is changed to an accent. Measures 29-31: The important bass part generated by the bassoon. cello and bass goes to piano two, left hand, this distribution being reminiscent of the first measures of the work. Piano two's right hand continues with the clarinet and flute, but not the oboe, which is out of reach. Piano one takes the sustained homs and oboe. Measures 32-38: The rhydim of the winds is similar to piano two's bass part. Piano two takes die flute and some of die notes from clarinet and oboe. Part of the clarinet and oboe parts are not included in order to make piano two's part idiomatic. The strings play some of diese omitted pitches. Piano one's left hand takes die homs, tmmpet, bassoon and cello. The melody formed by die violin and viola octaves (Eb, E^, F, etc.) emerges prominendy. I put diese octaves in piano one, right hand.

147