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COLUMBIA MASTERWORKS

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ROBERT CaaAril

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The Complete Music

Recorded Under the Direction

of ROBERT CRAFT

Socolov|STUDIO Ernest EAST

Design TITLE INSTRUMENTATION TIMING

SIDE ONE PASSACAGLIA, Op. 1 (1908) Orchestra 9 min., 56 sec. ENTFLIEHT AUF LEICHTEN KAEHNEN, Mixed Chorus 2 min., 28 sec. Op. 2 (1908) FIVE SONGS, Op. 3 (1909) Soprano and Piano 4 min. FIVE SONGS, Op. 4 (1909) Soprano and Piano 7 min., 50 sec.

MTR SIDE TWO FIVE MOVEMENTS FOR String Quartet 9 min., 33 sec. STRING QUARTET, Op. 5 (1909) SIX PIECES, Op. 6 (1909) Orchestra 9 min., 32 sec. —————— A list (Revised version, Aug.-Sept. 1928) FOUR PIECES, Op. 7 (1910) 4 min., 12 sec. NOTE Violin and Piano of TWO SONGS, Op. 8 (1910) Medium Voice and Instruments 1 min., 45 sec. The translations of the following texts are by Eric Smith: Anton Webern’s works, opus 13—Four Songs SIDE THREE SIX BAGATELLES, Op. 9 (1913) String Quartet 3 min., 87 sec. opus 17—Three Traditional Rhymes FIVE PIECES, Op. 10 (1913) Orchestra (Solo Ensemble) 4 min., 5 sec. OPUS 25—Three Songs with dates and 2 min., 2 sec. opus 29—Cantata No. I THREE SMALL PIECES, Op. 11 (1914) ’Cello and Piano opus 31—Cantata No. II instrumentations, FOUR SONGS, Op. 12 (1915-17) Soprano and Piano 4 min., 15 sec. 5 min., 382 sec. The translations of the following texts FOUR SONGS, Op. 18 (1914-18) Soprano and Instruments are by Leroy Linick: and SIX SONGS, Op. 14 (1917-21) High Soprano and Instruments 7 min., 28 sec. opus 14—Six Songs OPUS 15—Five Sacred Songs OPUS 16—Five Canons (Nos. 1, 3, 4, 5) with timings SIDE FOUR FIVE SACRED SONGS, Op. 15 (1917-22) High Soprano and Instruments 4 min., 42 sec. OPUS 18—Three Songs FIVE CANONS, Op. 16 (1924) Soprano, Clarinet, Bass Clarinet 2 min., 40 sec. The translation of OPUS 16 No. 2 of the recorded THREE TRADITIONAL RHYMES, Soprano and Instruments 2 min., 12 sec. is by Maria Massey. Op. 17 (1924) The translations of the following texts performances THREE SONGS, Op. 18 (1925) Soprano, E-flat Clarinet, Guitar 3 min., 19 sec. are by Robert Craft and Kurt Stone: TWO SONGS, Op. 19 (1926) Vocal Quartet and Instruments 1 min., 52 sec. oPuUS 2—Entflieht auf leichten Kéhnen OPUS 83—Five Songs STRING TRIO, Op. 20 (1927) String Trio 8 min., 16 sec. opus 4—Five Songs OPUS 8—Two Songs opus 12—F our Songs SIDE FIVE SYMPHONY, Op. 21 (1928) Chamber Orchestra 8 min., 50 sec. opus 19—Two Songs OPUS 23—Three Songs QUARTET, Op. 22 (1930) Clarinet, Tenor Saxophone, Violin, Piano 5 min. opus 26—Das Augenlicht THREE SONGS, Op. 28 (1934) Soprano and Piano 6 min. In presenting the texts and their translations it was found desirable in some cases to break the lines of the poems according to the musical SIDE SIX CONCERTO, Op. 24 (1934) Instrumental Ensemble 5 min., 56 sec. phrases or the meaning of the words, instead of reproducing the poems in their original setups. THREE SONGS, Op. 25 (1935) Soprano and Piano 3 min., 18 sec. The only “singable” translations are those DAS AUGENLICHT, Op. 26 (1935) Mixed Chorus and Orchestra 5 min., 10 sec. by Eric Smith; none of the others fit 5 min., 10 sec. the rhythm of the music. VARIATIONS FOR PIANO, Op. 27 (1986) Piano

© Copyright 1957, 1921 renewed 1948 and 1949, 1923 renewed 1951, 1924 renewed 1952, 1925 SIDE SEVEN STRING QUARTET, Op. 28 (1988) String Quartet 7 min., 40 sec. renewed 1953, 1926 renewed 1954, 1928 renewed 1956, 1936, 1938, 1954 and 1956 by Universal CANTATA NO. 1, Op. 29 (1939) Soprano Solo, Mixed Chorus, Orchestra 6 min., 41 sec. Edition A. G., Vienna; Used by permission. VARIATIONS FOR ORCHESTRA, Orchestra 5 min., 40 sec. The original texts and their English translations Op. 30 (1940) cannot be used without license from the copyright owner or its agent, Associated Music Publishers, Inc., New York, nor can either be SIDE EIGHT CANTATA NO. 2, Op. 31 (1943) Soprano and Bass Soli, Mixed Chorus, Orchestra 10 min., 30 sec. reproduced without such license.

This booklet was prepared under the editorial supervision of Kurt Stone. ORCHESTRATION OF J. 8. BACH’S Orchestra 7 min., 20 sec. ‘RICERCAR’ (No. 2 in The Musical Offering) (1935) —@ Library of Congress catalog card number R-56-1077 applies to this record. Cards may QUINTET FOR STRING QUARTET AND PIANO String Quartet and Piano 11 min., 38 sec. be purchased from Card Division, Library (1906) of Congress, Washington 25, D.C. (ed. by Jacques Louis Monod) Biography

Anton von Webern (he dropped the prefix of nobility ‘von’ in his There are no other ‘events’ until the tragedy of his death. From later years) was born in Vienna on December 8rd, 1883. Descended 1906 onwards he was nearly always active as a conductor. In that year from an arcient Austrian family of landowners in the lower Tyrol, he he fulfilled engagements as an opera conductor in Prague and in was schooled first in Vienna and then in the gymnasiums of Graz and various German cities. In 1911 he was appointed Theaterkapellmeister Klagenfurt. In 1902 he entered the University of Vienna as a student in Danzig. He married there on February 22 of that year. 1912, the in philosophy and as a pupil of Guido Adler’s in musicology. Receiving year of Pierrot Lunaire, was spent in Berlin, and Webern was present the Ph.D. degree there in musicology in 1906, his thesis on Isaac’s at the meeting of Stravinsky and Schénberg in the latter’s Zehlendorf Choralis Constantinus was published in the Denkmdler der Tonkunst residence. A daughter, now Frau Amalie Waller of Vienna, was born in Oesterreich series. Thus Webern is probably the first composer to in Berlin. (A younger daughter, Frau Mattel, lives in Salzburg, and a have begun as a trained musicologist. Unfortunately no exegete has third daughter, Christine, to whom the Symphony is dedicated, lives yet stressed this most important aspect of the master’s background: in Argentina. The only son was killed on the Russian front in the war. Webern the student of 15th-century polyphony, of the motets of There are seven grandchildren.) Webern lived as Kapellmeister in Matteo da Perugia and others whose complicated vertical rhythms Stettin in 1913 and until the outbreak of war. Mobilized in 1915, he graph so much like his own, Webern of the hocket, of the canon, of the was released the following year because of poor eyesight. In Vienna closed form, of the proportional system. after the war he conducted and supervised much of the advanced music Webern’s student notebooks are filled with Wagner-Nietzsche wor- presented by Schénberg’s Society for Private Musical Performances. ship, and these two seem to have dominated his mind until about 1908. He conducted the Wiener Arbeiter Symphoniekonzerte and the Kunst- His first surviving composition, from about 1901-2, is an unfinished stelle choir from 1923-33, and in 1927 he was made a conductor of the setting of Johann Ludwig Uhland’s ballad Siegfried’s Schwert, for Vienna radio. He was five times a guest conductor of the B.B.C. — soprano and large orchestra, a naive piece of Wagneriana with no through the efforts of its then director Edward Clark, one of the very recognizable Webern characteristic. The next compositions, also unfin- few to have appreciated Webern’s genius as a conductor —and of ished, are a longish piano piece and a string quartet. Less parodistically radio orchestras and concert organizations in Berlin, Dtisseldorf, Wagnerian, they are closer in style to the Quintet of 1907 which we Donaueschingen, Munich, Frankfurt, Zurich, and Barcelona. His reper- have included in our recordings as an example of pre-Webern Webern. toire was catholic. For example, he had a great reputation for his But the Passacaglia Op. 1 is again Wagnerian, even more than it is performances of ‘light’ Viennese classics, and once gave a whole pro- Brahmsian, Straussian, Schénbergian. gram of Schubert ballet music, Johann Strauss, and Hugo Wolf, for The event of most consequence in Webern’s life was his meeting the B.B.C. with Schonberg in 1904. He became Schénberg’s first pupil and Ernst Krenek has said that when Webern conducted a Haydn sym- remained his lifelong disciple. At times the relationship was almost phony he made it sound in such a way that one felt one had understood fanatical, as certain of Webern’s letters re Schénberg (published in it for the first time. Webern seems to have been an extremely sensitive, Melos, December, 1953) show. Webern wrote the first critical study of fanatically demanding, but patient conductor. His physical fear of noise Schénberg’s music, and with Alban Berg the three were in almost daily made him reluctant even to begin rehearsing, knowing in advance association from:1906-1912, the period of the beginnings of atonality that the loudness, coarseness, bad intonation, false expression, and and of so many other of Schénberg’s radical innovations. wrong articulation would be torture. One can reconstruct Webern the

| Mittersill, Austria i \ conductor from Webern the composer. The dynamics of his music structions which one would suppose to be more suitable to instrumen- five months before but Mittersill was under a curfew. Webern had change from note to note and most often so do tempi change, by tal forms. But actually, his vocal and instrumental forms are never calando, accelerando, ritardando, etc. But dynamic and tempo controls confused or overlapped. Vocal music undoubtedly had the greater stepped out of his house in the evening to smoke a cigarette. He may or may not have been ordered by an American soldier, may or may not and articulation always function structurally and are by no means attraction for him, the musical ‘expression’ of texts, not their ‘setting’. adjuncts. Webern is the composer of the ‘expressive ppp semiquaver’ He chooses texts that are lyric and tragic and expresses them musically. have misunderstood the order, may or may not have fumbled in his pockets to some reasonable suspicion. The Wiener Kurier, a U.S. spon- and his characteristic directions in the music are ‘like a whisper’, There is no inspirational difference in this between Webern and Schu- sored German language paper, reported the affair as follows: “About ‘scarcely audible’, ‘dying away’. He employs crescendo and decrescendo bert. The fact that Webern composes with strict contrapuntal means for a single short note whose execution—especially the decrescendo— does not deter the expressive substance. The texts of his later songs 10 o’clock in the evening he was standing in front of his son-in-law’s house enjoying a last cigarette before retiring when there was a sudden is by no means part of the technique of the ordinary musician at pres- and cantatas appear to be the work of collaboration for they are like series of shots. Dr. Webern staggered into the house and said to his ent. Webern must also have been metronomically precise. It is my con- anthologies of the words and syllables that Webern regarded as most wife, ‘I’ve been hit.’ He died soon afterwards. His son-in-law was viction that the metronome marks in his own music are to be followed expressive and musically evocative (which is to admit that their mean- arrested. The motive for the attack remains a complete mystery.” exactly, that his own ‘circa’ is to be allowed but little leeway. ing escapes me; the sentiment puts one off the search). According to another account the Mattel house was being searched I myself once conducted Schénberg’s Begleitungsmusik Op. 34 from His situation both as man and musician was made disastrous by the by the Americans and Webern was told to wait in the street, where he Webern’s score of that work. Webern had checked every note and had Nazis who after the annexation of Austria banned his music, burned was shot by ‘mistake’. Visiting Mittersill, coming through the snowy in consequence discovered about one hundred printing errors. He had his writings, and forbade him all activity except the teaching of a few Thurn pass above the long green valley the death seems doubly cruel: even redistributed a chord because of a lapse in Schoénberg’s strict pupils. The most terrible realization of Webern’s circumstances in this Webern shot, a man of 61 who could never have seemed dangerous even application of the series. Every detail of the music had been beautifully period is contained in the story of his attendance, more or less forced to the dullest soldier, who was horrified by violence and noise, and in charted in red, green, and blue pencil. The score had become a map by the general atmosphere, at a Nazi sponsored festival of contem- this quiet, isolated village which is in perpetual curfew anyway. He is to a perfect performance. porary music, of which Richard Strauss was chairman and at which buried in the Mittersill churchyard under a simple iron cross, with The characteristic Webern story is the one in which he was to conduct Webern’s music was verboten. Too poor to buy a ticket, Webern was his wife Minna, d. 1949. Noli tangere meos circulos, and like Archime- the first performance of the Berg Violin Concerto in Barcelona in 1936. obliged to stand against a side wall and listen to... Carmina Burana! ! des he died. In two of three rehearsals he had prepared only the first eight bars to He was even obliged to proof-read for his publisher in order to escape Webern, like Stravinsky and Schonberg, was a small man, about his satisfaction ; then after a scandal a less particular man conducted it slave labor during the war. The increased bombings of Vienna towards five feet seven. His ascetic’s face could come from a sixteenth-century with the one rehearsal that remained. the end of the war forced the sensitive Webern to take refuge. He went Austrian miniature, except for the preoccupied look which one sees From 1918 onwards, Webern lived at Médling and later at Maria- to Mittersill, a small town in the Pinzgau, about 80 miles southwest only in certain other of this century’s faces — Kafka’s, Klee’s, Simone Enzersdorf, both near Vienna, composing and teaching composition. of Salzburg, to the house of his son-in-law Benno Mattel. In Mittersill Weil’s. He was never happy away from his beloved Tyrol, and out of He attracted pupils from all over the world. His teaching activity Webern worked at a Concerto in 3 movements (Sonata, Adagio, Rondo) Austria, on his concert tours, he was bitterly homesick. The presence always began with analyses of Beethoven Sonatas. But occasionally he which he had begun in Vienna early in 1944. Only the sketches exist. of the mountains can be felt in all of his work. And overtly, bell sounds would consent to analyze and explain some work of his own. A pupil They are bound in a home-made canvas Skizzenbuch which is as inter- are imitated, not only in such nature and color pieces as Opera 6 and 10 recounts how Webern would go to a bureau, take out a manuscript esting a record of the evolution of a musical composition as Beethoven’s (which actually use cowbells) but in the last work he was to complete. tidily wrapped in ribbons, carefully unfold it at the piano, and after sketch books. Sketches for abandoned third movements of Opera 20, Bell sounds in clear mountain air are evoked in almost every Webern playing and analyzing it, as carefully put it away. Before the war he 21, and 22, as well as for the Second Cantata Op. 31 are also contained opus. had participated in Viennese intellectual life. There are the two por- in this particular volume. One may judge from the several working-out My concept of Webern’s character and personality is secondhand. I stages of the musical ideas of the Cantata, rhythm and positions of traits of him by Kokoschka done in 1912 and 1914. He was also promi- can only repeat the impressions of others. Ernest Ansermet tells a story nent in the Blawe Reiter and Karl Kraus groups, and he seems to have notes changed, etc., that the unfinished Concerto would have occupied that might conceivably mean something to a listener on his way to the known his two great and very different contemporaries, Robert Musil Webern several more months. The sketches are in faint pencil with music. Ansermet says that to have seen and heard Webern touch a and Rudolf Kassner. But later in life he withdrew more and more. He some indications of instrumentation in colored pencil. I quote the series =| single note on the piano was to have observed a man in an act of devo- Drawing of Webern by Kokoschka was always a devout Catholic and increasingly a Christian mystic. He of the unfinished Concerto as it has one of the most interesting struc- tion. At the piano he would cause the mathematical marvels to disap- lived in and for music and what love was left was for flowers and for the tures of all: pear and instead one would be aware only of the purest relationships ‘he had not needed hope so long as despair could be postponed’). There poetry of Hélderlin and Rilke and the Greek tragedians. A pupil has of sound. Ansermet has said also that Webern attended one of his are few comparable examples in any activity of such purpose, of such called him ‘a fanatical lover of all plants and of everything that grows.’ rehearsals of Daphnis and Chloe in Vienna in 1940 or 1941, that Webern disregard of the world, of a man hissed and ridiculed his entire life I know little of Webern’s Christianity, but I do know that for him had never heard it before (sic) and that very little impressed with it going his own way with such infallibility. But on the other side, how religion meant rules. His whole life is a search for the strongest, the his only comment was: ‘why does he use four of each of the winds? were we to know that in 20 years our age would be characterized by a most all-abiding rules. His religiosity is a compound of God-in-Nature Beethoven used only two and it is so mighty (es ist so gross)’. majority of the youngest Western European musicians as ‘the age of worship with an intense primitive feeling for the Christian tragedy. In Mittersill Webern learned that his soldier son had been killed just Dallapiccola has described his own rather clandestine visit to Webern Webern’? One sees that much in his choice of texts. They are all either of a kind before the truce. And there he himself was shot to death on September in Vienna in 1948 as a turning-point in his life. But all who knew Webern’s mind was always radical; it pursued immediately to ulti- of Goethean pantheism or else Christian folk texts, as stark as those 15th, 1945. Webern were in awe of his dedication, of his hopelessly high aims and mate consequences. There is in fact nothing in the music of Webern but Crucifixes, roadside reminders of tragedy, that one sees throughout Webern’s murder—or tragic accident—has not yet been officially his total realization of them (and even if he himself had been without ultimate consequences. If, in Sartre’s phrase, Giacometti has taken the the Tyrol. explained. According to one account his slayer was an American soldier hope, ‘the loss of all hope does not deprive human reality of its possi- fat off space, then Webern has defined the horror vacui of silence. It is significant that more than half of Webern’s music is vocal, i.e., —Mittersill was in the American zone—from an occupation unit noted bilities; it is simply an attitude towards these same possibilities’ I am not shy of wearing my respect for Webern the man, but in has texts. One hears so much about an abstract Webern, about con- for the precipitancy of its trigger fingers. The war had been concluded (Heidegger) ; or perhaps it was, as Tolkien says about his hobbit, that writing about the music I am afraid of conveying nothing but my own love and of ‘explaining’, to adapt Dr. Johnson, ‘what no listener has musical evolution in which the composer is ‘aware of his historical OPERA 3, 4, AND 5: beyond tonality As we have said above, Webern shuns the extended rhetoric of a found difficult, and explaining it wrong’. One writes in words about a opportunity’. A dialectical ladder is set up and then Webern is made Unlike Schonberg and Berg, Webern was all his life an atonal com- single instrument and deploys his phrases in varicolored links—which musical experience knowing that the words are not correlates for the to climb it ‘acquisition’ by ‘acquisition’. I do not myself believe in the poser without tonal nostalgia. ‘Atonal’, like ‘communist’, does not mean however must be played chain-wise, not pointillistically. At first the experience; but one writes for the people who may have had a similar Marxist historical awareness and prefer the cliché about ‘the inner etymologically what we mean by it, but has come to be the indispensable listener might be reminded of a switchboard sporadically lighting up, experience and who might find the words meaningful in a similar way. necessities of the art’. I also do not believe the acquisitions were con- designation for a kind of music composed after 1907 and especially by but the plot of wires between the lights is what must be illuminated. In the case of Webern, however, -few people have any considerable sciously acquired in that particular way, and so will treat Webern as the Schonberg school. Atonal music is not generated from a harmonic Webern in the Siz Pieces and ever thereafter likes to contrast solo experience of the music, and words are therefore all by themselves, and a musician working exclusively with the materials of music. bass, and its chromatic, non-triadic roving harmony exceeds the analy- strings with multiple strings; likes the low notes of the flute with the hardly correlated even to other words. And, when there is nothing to sis of so-called tonal harmony. Of course certain so-called atonal music low notes of the muted trumpet; likes low harp and tuba; likes celeste say, preaching is inevitable. could be spelled according to tonal figuration but it would stretch the tactfully used. Brass instruments are almost always muted in Webern Analyses and technical discussions are quite as far from a musical THE MUSIC system to absurdity: i.e. “such and such is a 13th chord on GV with (after Opus 1 they play without mutes only in the variations of Opus 30 experience as aesthetic talk. The form the latter usually takes with ‘added notes’.” The final cadence of Stravinsky’s Danse Sacrale is a and the chorale of Opus 31). reference to Webern is the discussion of historical determinism and OPERA 1 AND 2: the beginning in tonality case where such an analysis works—a dominant to tonic with ‘added Webern’s musical personality is already partially defined from the notes’—but the bass is harmonic and there is therefore no condition OPERA 7-12: the short pieces first opus. One of the non-Webernian attributes of the Passacaglia Op. 1 of atonality. It is interesting today to listen to parts of say Schénberg’s All Webern’s music is short; but Opera 7-12 are short even for — its length — must not obscure the fact that it is an amazing inaug- Second Quartet and mark the stray sheep excursions into atonality and Portrait of Webern by Kokoschka Webern, and especially Opera 9, 10, and 11 whose 14 pieces average ural example of his famous economy. The Webern profile is there in the rather sheep-like return to the tonal fold whose border is of course about 40 seconds each. But Webern’s brevity must not be thought of as several of its features. The variation of musical ideas, motives, of as arbitrary as the ear’s education.. mere reaction to late-romantic length. His time scale is the unit in each rhythm, timbre, dynamics, is one of the principles of Webern’s later Webern’s first songs still evoke tonality by harmonic thirds and case of a single complete musical idea—musical object rather, because music. Indeed, the techniques of variation become a science in the serv- sixths, by octave doublings and by the frequent melodic use of the inter- these tiny crystals are static. Webern is expressing, as Schénberg put ice of purity and economy in such later works as the Piano Variations val of the fourth (in atonal music, intervals are named by their span in it, ‘a whole novel in a single sigh’. Having suspended both tonal har- and String Quartet Op. 28. As such, Webern’s idea of variation is at semitones but we stick to the habit of describing them harmonically). monic movement in which one chord engenders and compels another, the very opposite of the idea of development, which is to expand, to add Webern’s first atonal music is remarkable beyond its harmonic nov- and those illusions of movement, repetition and sequence, Webern in to. Here in his first composition is Webern writing not sonata develop- elty. The George songs and the Five Pieces for string quartet or string this period is in fact composing music of an entirely different order. ment music like Berg, but passacaglia variations. Also Webernian is the orchestra virtually abolish sequence and repetition and the larger prin- The Schonberg piano pieces Opus 19 are an influence, but the Webern theme which uses a contrapuntal device—the second motive of the ciple of symmetry. This is a large step ahead of the Opus 2 chorus which dimension was already there, and after his Opus 19 Schénberg was to theme is the crab inversion of the first—occurring in almost every late is one-third recapitulation. From now on, the Webern form will be the return to the rhetoric and the time scale of Brahms, whereas Webern Webern score. It is important to remember that Webern was always short movement wherein tiny cells are varied not by the usual elabora- inhabited ever after a completely new time world begotten only with the a contrapuntist. tions but by contrapuntal kaleidoscoping : imitation, inversion, rhythmic new materials of 12-tone composition. However close Webern was to The Passacaglia theme’s chromatic structure must also be noticed: shifting. The dramatic leaps of Webern’s late vocal style are already Schonberg in this period, their paths had already diverged. 11 of the 12 tones are present in the harmony. Between the first and last earmarked, though here the singer’s rather simple line is guided on The marvel of the short pieces is that in spite of all the compression, chords of D minor, with the ordinary cadence, are six strong position most pitches by the piano, and by its own recurring notes. The string fragmentation, ‘purification of the motive’—in the sense that the motive chords leading the harmony rather far afield for such a short tonal style of the Five Pieces abounds in harmonics, tremolos, ponticello, col must be neither more nor less than essential—they are not large forms compass. legno, and pizzicato. Already used structurally here, it is one of the reduced but are tiny forms de jure and of their own logic. It must be Other Webern features are (1) an extensive use of triplets. It was Webern wonders how these string resources, quite as natural as ordi- admitted that the short pieces are difficult to program; they embar- by the various combinations of triplets that Webern was later to enrich nary bowing, become part of the musical form and fibre in the late rass other music and are ill-mannered next to a normal-length piece. the vocabulary of rhythm; (2) a transparency of instrumental] writing works: for example, the use of pizzicato in the Bach Ricercar. Webern, always composing to the ear even when he is most vainly ap- in spite of some rather Brahmsian climaxes; (3) the extreme quietness OPUS 6: orchestral style pealing to the eye, is in short pieces a still careful speculator as to the of most of the music; (4) the rests between the notes of the theme ;— Webern’s only work for very large orchestra ought by now to have ear’s capacities. In his music, everything must be heard, not merely an silence is an element in the music of Webern, the perfectly calculated become the popular repertoire piece that is its inevitable fate. Schén- impression of Klangfarben or structure or design, but the actual pitches time of ‘memory and desire’ inside the music. Silence has never before berg’s word, Klangfarbenmelodie, is used to describe the fragmentation of all the notes. Here in Opus 8 and in Opus 10 Nos. 1 and 4, where there been ‘composed’ to such an extent as in (for example) the Symphony and distribution of a musical line or phrase through instruments of is a minimum of ‘chords’, where the vertical nudity is so extreme that Op. 21. different timbres. These Opus 6 pieces, in which Webern’s color-sound there is in fact nothing but melody, Webern is stating his extreme con- The a cappella chorus Entflieht auf leichten Kéihnen, Op. 2, is the world is already full grown, antedate Schénberg’s coinage of the term cern for the ear. And it is the same ever after; you can and do hear first example of Webern’s famous brevity. It is again a contrapuntal (in his Harmonielehre, 1911) and his illustrations of it in Herzge- even in Opera 18, 19, and 20 but most clearly after these works—all of work but with a much more closed form than the Passacaglia. Built wdchse and the four songs Opus 22; but Schénberg’s ‘changing colors’ the notes. On the other hand, you do not hear—that is, the ear does not entirely on canonic principles, it is a strict two-part canon with each in the orchestral pieces Opus 16 are Webern’s undeniable source. name or analyze—the constituent notes of, for example, the vertical voice doubled in sixths and thirds, followed by a middle-section canon In Webern’s sound-world there are no masses and no textures, thick structure in Schénberg’s Suite Op. 29. (There might well be new aural in four parts, and concluded by a recapitulation of the first two-part or thin. Instead there is polyphony of—mostly—solo instruments. There capacities in the future, but the most subtle ears do not hear all of canon. It is interesting to note that Webern returns to this choral style are a few tutti in Opus 6 of course, but when one hears the usual orches- Opus 29 yet, beyond the fact of course that there are so many common of paralleled intervals as late as the fifth movement of the Cantata tral music of the 1910 period the sound of these six pieces is as fresh tones if each chord has seven or eight or nine of them.) But Webern was Op. 31, where the intervals are major sevenths. and delightful as it was when Webern conceived them 45 years ago. more and more concerned with this problem in atonal music and his last Photo used by permission of Mrs. F. Knize; photo: John B. Schiff. works are marvels of aural lucidity. This point is crucial—it is hardly are the first of Webern’s incomparable masterpieces. row, the second song adds retrograde and inverted forms and the third ever made—especially now and in the teeth (false) of the mechanical The last song of Opus 15 was Webern’s first strict through-composed uses simultaneously the different forms in the different voices. There is so-called Webernites who do not write to satisfy their own ears and canon since Opus 2. Now, in Opus 16, the canon is to come into its own as no room to analyze this opus but an analysis and drawing in of the tri- therefore satisfy no one else’s: the purity of Webern’s spirit is the the Webern form par excellence, the form in which—in one of the angles and vectors would show a degree of organization without prece- purity of his ear. wonders of the history of music—he was to compose the ‘exposition’ dent in the history of music. The Opus 18 songs are Webern’s zenith style and ‘development’ of a symphony. The canons are more spare than the of rhythmic, vocal, and instrumental complexity. There is from the first OPERA 18, 14, 15,16 Opera 14 and 15 songs: they are 9, 12, or 13 bars each of the purest con- to the last song a growing ecstasy of sound, and though that word is Even the earliest works of Webern resist grouping, but the step from trapuntal music composed in this century. The canons have provoked too apt to be heard at certain fashionable concerts, I want it to mean an one work to the next is now so great that any grouping would be arti- the observation—because voice and clarinets have the same music— iconoclastic fervor. ficial. Webern would have been a voluminous composer had he written that Webern’s vocal music is unvocal. But since none of our singers has Opus 19, though far richer in texture than Opus 17—it contains the music in between each opus. But he limited himself to ultimate ever said the same our only polemic is to offer the performance of Miss Webern’s thickest polyphonic writing—and infinitely more complex consequences and to composing the silence not only within a work but Nixon, who sings the songs with piano and the cantatas, and who has otherwise, is rather closer to it than to Opus 18. It is even a relief after between one work and the next. The listener must make a huge effort perfect pitch, and of Miss Martin who sings the instrumental songs and the intensity of that summit. Its first song is technically almost more to follow the progress of the music from now to the end. From here on has relative pitch. (My own experience is that you will never get very difficult than Opus 18 to put in order—sixteenths against triplets— Webern has out-directioned everyone. much out of Webern until you undertake to sing it yourself: as soon but is much less demanding in concentration. Following this, the second The greater length of the Opus 13 songs must have reassured those as one gets the habit of singing the intervals one takes much greater song is the easiest piece Webern had written for 10 years. Also, the who might have feared that after Opus 11 he would not deign to com- pleasure in the music.) singers are conceded to in principle: they are doubled with instrumen- pose anything but absolute silence. His rhythmic style has developed so It is the same with instruments. So far from being told by the players tal pitech—though in the first song the doubling is gratuitous, being far that by Opus 13 it is already a new language. Rhythm of all Webern- that things were instrumentally impossible, the guitarist of Opus 18, for offered too late or inaudibly. The instruments are in two groups, celeste ian innovations is the most difficult element for both performer and example, has commented that the writing is perfectly constructed for and guitar, and violin and two clarinets. In the first song each group is listener (rhythm is endemically ill-served at present). Webern’s ‘new the guitar. Let us not confound our musical difficulties with the perfect distinguished by its own kind of rhythm. The fact that in the second language’ consists chiefly in using triplets in all combinations and craftsmanship and conception of the composer, nor confound, as Sydney song there is but one kind of rhythm is of great consequence for the speeds quite as regularly as single and duple units. It is the result of Smith warned, what we take to be another’s want of light with our own future. Webern will now write three two-movement pieces ruled by real polyphony, not of the vertical simultaneity of harmonic counter- want of vision. contrast rather than by the progress of one idea through two move- point in which all parts move as one, but of the real independence of ments. And the Webern style of great rhythmic complexity—never lines. And from here on there are no contemporary or recent analogous OPUS 17: 12-tone music again as advanced as in Opus 18—will be matched by an extreme sim- examples; one has to go back to the late 14th-century motets. - Opus 16 had moved close to a row technique. Now Opus 17 uses for the plicity in which there are only one or two kinds of notes and these are The Trakl songs Opus 14 mark one of Webern’s greatest leaps. The first time Schénberg’s idea of the 12-tone row. To the listener who has sounded on the beats. But then from the rhythmic simplicity of Opera 24 fragmentary style of Opus 13 has been supplanted by four- and five-part just heard Opera 14, 15, 16 in succession this will mean first of all an and 28 Webern goes on to the new metrical beauty of the second move- polyphony of great density, richness, and continuity. The advance in entirely new rhythm—to Webern—of repeated notes. All 12 notes had ment of Opus 29 and to the chief rhythmic wonder of all, the restoration both vocal and instrumental styles has been greater in this one work to be sounded in early 12-tone practice before any one of them could of Renaissance polyphonic rhythm in the chorale of the Cantata Op. 31. than ever before—or after. The example of Pierrot Lunaire looms, the be sounded a second time, but a tone could be repeated immediately: example of instrumental style and of the use of the strict polyphonic thus the Morse code style of so many early 12-tone pieces, or the ‘Chinese OPUS 20: the struggle forms—but the example only, the languages are different. (The Schén- style’ so wonderfully fit for the Chinese cantata Op. 27 of Schonberg In the Trio Op. 20 Webern’s struggle reaches a solution and in the berg influence is always evident in Webern’s first 10 or 12 years as a and the Opus 19 of Webern. The Opus 17 songs area straightforward bit solution the awareness of the real problem. The forest he had to cross composer but it is always contradicted: Webern used the ‘strict of numerology: the same order of the 12 notes occurs melodically and from Opus 17 to Opus 21 required one of the most dogged quests ever polyphonic forms’ before Schonberg, in his Opera 1 and 2; used the harmonically in every bar or two. But the great mastery with which undertaken by a musician: the quest for the form of row music. His short pieces before Schénberg, in his Opus 2, etc. Precedence is unim- Webern handles this new style, and especially the mastery of rhythmic first three 12-tone works had been short pieces, songs. He had under- portant; the point is that they were both very close and very inde- variation, is breathtaking. There is nothing tentative in these beautiful taken no purely instrumental piece since the 14 tiny bagatelles for pendent.) songs; the interlocking of parts, the wonderfully various use of less string quartet, for orchestra, and for ’cello 14 years earlier, and no No. 5, the last of the Five Sacred Songs Opus 15, the earliest in date of variegated intervals than in earlier pieces, the fragmentation, the instrumental work of any size in the 20 years since his Opus 1. Now with composition, was finished at the same time as the first Trakl songs of nudity, together with the harder quality of the sound, the space and the Trio he composed his longest piece since his earliest works and his 1917. The first two songs of Opus 15 go beyond even the Trakl songs in the leaps and the rhythmic hardness: these are all marks of Webern’s first piece in large form. polyphonic density and subtlety of rhythm. The third song is a march style of later years. Schonberg had begun to apply the technique of 12-tone row music and a pure marvel. The fourth song is more bony and clear in its contra- to the classical forms of tonality: gigue, gavotte, musette, overture, puntal craftsmanship than any piece so far discussed, and it tends very OPERA 18 AND 19: the difficult works etc. Schénberg’s phrase structure, motive development, and melodic closely to the canons Opus 16. In the fifth song the double canon in motu Webern’s second and third 12-tone works hardly seem to follow from building in his first 12-tone period (1923-30) are still recognizable contrario is distributed between voice and violin and between trumpet Opus 17. The latter was comparatively spread out and spacious. The extensions of the technique of Brahms; and his Brahmsian rhetorical and clarinet, but then hands over from instrument to instrument accord- interior structures of Opera 18 and 19 are so close, so complex polyphon- style and affinity with sonata-type development music led him to ing to the Klangfarben idea. Much as I like the Trakl songs, my own ically that it would seem impossible to go further in the same direction rewrite the forms of tonal music with 12-tone organization. The use of line would be drawn between them and those of Opus 15 which for me (he didn’t). Whereas the first song of Opus 18 uses a single form of the hexachordal rows and the kind of row transposition which makes for a ROBERT CRAFT

10 ila procedure of harmonic movement imitating that of tonal harmony (the nificance. Here is Webern writing small sonata-breadth pieces with who like to look while they listen it is more interesting at first to follow It carries on a dialogue with a nature goddess—the third movement of Cantata of Opus 28, where modulation with 12 notes is brilliantly if expositions, developments, recapitulations, codas, and with his only the music in an open six-part score as published in the Bach-Gesellschaft the first cantata, the fifth movement of the second cantata—even dances mockingly demonstrated) , and Schénberg’s habit of transposing at the material the purest of contrapuntal forms, the canon. edition than in Webern’s orchestral score. It is perhaps even more diffi- with her in the third movement of the second cantata. The cantatas also fifth, the tonal dominant, are techniques intended to effect a restoration cult to follow the Klangfarben style in this familiar music, but few introduce a new classicism, and within it, a greatly expanded dramatic OPERA 23 AND 25 of the tonal forms with 12-tone atonal means. (On the little slide-rule would deny that Webern makes the Ricercar seem congenitally disposed conception. Webermhas broadened out, has employed a less compressed Leibowitz’s essay, The Tragic Art of Anton Webern (Horizon, May sheets on which Schonberg worked out all the orders and transpositions to it. time-scale (in relation, always, to other Webern music. For example, 1947), argues that Webern was himself the enactor of a tragic réle of his rows with common notes marked, the fifth was always written the final movement of Opus 31 might be called Webern’s Parsifal: it is and that his music is tragic in the sense that it is composed in the strict in red ink. The most glaring instance of the tonal dominant is in the OPERA 27, 28, 30 repeated three times). There is even a suggestion of opera: the build-up contrapuntal forms. Webern of course always did set himself the most first movement of the Quintet, where at the end of the exposition it is With the last three instrumental works, Webern’s quest for the ulti- to the great dramatic cry ‘Charis’ from the soprano in the third part pre-ordained problems. However, the opposite of a tragic composer left as a melodic dominant without harmony.) Of course there is very mate polyphonic purity has been realized. This is the most ruthlessly of the Cantata Op. 29, and the sequence of recitative and aria, the first would be a lyrical one, and here Leibowitz’s thesis must be questioned. much more to the Schonberg evolution and process than this, but the fundamental music of all. Everything is variation and every musical two movements of the Second Cantata. Beauty of sound is all that Webern’s tragic works were given relief by a very rare and very deli- point to be made is: the Schénberg example before Webern was of the idea is expressed with ruthless economy: there are only two kinds of concerns Webern now; structure has been translated to sound and cate lyrical inspiration. Many of the songs are definitely lyrical and application of rows to the forms of tonality. Schénberg in all other interval in Opus 30 and only three kinds in Opus 28, and there are has disappeared in the process like a discarded scaffold. Webern wrote none more than these last six. (Slightly more than half of Webern’s respects than his harmonic language was still not so far away from the palindromes and other deliberate row delimitations as well. On May 8rd, again to Willi Reich, February 23rd, 1944: “To quote freely from music is vocal and songs account for at least one third of his total work.) tonal masters from Beethoven to Brahms that he could not hope to 1941, Webern wrote to Willi Reich on the subject of his orchestral Vari- Hélderlin: ‘to live—that is to defend a form’. I tell you this gladly. These last songs are all the more beautiful for having survived like rare create their kind of form with his recognizably traditional rhythm, ations (they are dedicated to the late Werner Reinhart of Winterthur, to This poet has been occupying my attention intensely for a considerable flowers high on a very hard mountain. melodic construction, and phrase design. Harmonically he hoped to which city Webern journeyed to hear them under Scherchen in 1948, time. Imagine what an impression it made on me when this passage create their kind of form through the unity he imagined the row to the last public performance of any of his music he was to hear, and occurred in the notes to the Oedipus translation: ‘other works of art OPUS 24 give, through the harmonic movement of block transpositions, and even the first work of his he had heard since the five years of Nazi ban, an lack reliability, as compared with those of the Greeks. They have, at The Concerto Opus 24 has been the most analyzed of all Webern’s through ‘tonal’ passages composed with 12 notes (the theme of Opus 29, insufferable situation for a great composer and especially so for one least up to now, been judged more by the impression they convey than by works. One rather gets the impression from the authors of these third movement). who had always worked in the reality of sound in performance) : “Isn’t the artistic considerations and other methods through which their studies—Leibowitz, Stockhausen—that it was written for their analyt- Webern’s language in its every manifestation had been so radically it true that when you first see this score you want to say ‘well, what beauty is created.’ Do I still need to tell you why this passage moved ical purpose. But an analysis is so easy to do and so obvious that it changed that there was no possibility of his achieving half-hour four- is in it?—nothing’. This is because you do not see the multitudes of me so much?” doesn’t seem worth doing. And if one uses it to demonstrate the tech- movement sonata form. Webern’s monosyllables determined instead a notes which most music has accustomed you to see. Evidently then my nique of 12-tone composition, as Leibowitz does, that too seems useless. very different and indigenously 12-tone form: total variation. score has another style. Yes, but what kind? I suppose...a new kind. It will merely show what Webern has done in this particular piece and But Webern in what must have been a stormy intumescence did “The theme of the variations is in a periodic form and has an intro- I have not included in these recordings of Webern’s “complete works’ his not what another may do, for as Amiel wrote: “the frightful thing write his one great compromise work, his last compromise to a Schén- ductory character. (The form is that of an overture.) The six variations arrangements of music by Schubert, Johann Strauss, and Schénberg, nor his berg example. He also attempted 12-tone tonal form, but though the about this existence is that, since we are deprived of acquired expe- string orchestra version of his own Opus 5. The latter work’s popularity in are as follows: the principal theme of the overture (andante) ; the Webern’s oeuvre is comparable to that of the Firebird in Stravinsky’s, but outline of development sections and transitional passages and recapitu- rience and former practice by each new case, we do not know what to transition: the second theme; a fully developed recapitulation of the the inclusion of both versions of Opus 5 would have occupied a disproportion- do”. What in fact is so remarkable about Webern in each of these works lations is very clear in the Trio, he is at the same time far in advance main theme; a recapitulation of the character of the introduction and ately large surface of our discs. And the arrangements of Schubert, Strauss, from the Trio on, is precisely that each one is a different kind of and Schénberg belong far more to their composers than to Webern. of this scheme in the invention of the smaller cells and units and in his transition ; a coda. unexceedable end. technique of varying them. In the second movement, he combines the “Everything in this piece is derived from the two ideas stated in the style of intricate richness of Opus 18 with the clearer and more simple first two measures by the double bass and oboe. The second form of the THE BACH RICERCAR style that is to become characteristic in the next works. He invents the idea is in retrograde: the second two tones are the retrograde move- The great difficulty in performing Webern’s instrumentation of the slow first—and fast second—movement which he will use in the Sym- ment of the first two but are doubled in rhythmic length. Then the six-part Ricercar from the Musical Offering is that every player in the phony and Quartet. Moreover, in the first movement he does achieve a trombone states the first form of the double bass but in half notes. That orchestra must be aware of his connecting function in the whole. Each breadth and a grandeur and real sense of working-out of motifs, and a is how I construct my row, with these three groups of four tones each player is like a relay runner in a controlled race and he must know not middle section and climax and ending. Also, the ritornelli do achieve ~~— = in the bass, oboe, trombone. their function as ritornelli. The second movement is the most difficult in only his own exits and entrances, but the master plan as well. Webern’s “The motivic development uses much crab-wise movement with aug- all Webern to encompass with one’s ears from beginning to end—but its Klangfarben insectation of Bach’s subject is of course a legitimate mentation and diminution.... By changing the center of gravitation incredible riches can be taken in with practice and patience and with compositional procedure; it is of no moment whether Bach would have within the two row forms by augmentation and diminution the charac- accurate and mature performance. written it for instruments in that way, and in any case a reconstruction ter and meter of the piece itself is constantly changing. ...The entire of what Bach might have done is a proposition of interest to a lesser development of the piece is already present in the row of the first few OPERA 21 AND 22 man than Webern. bars: Pre-formed.” The storm over, repose comes in its wake. I will not offer analysis Like any analysis into smaller elements it both simplifies and com- nor would I have the reader take any analysis whatever for an explana- plicates. Webern directs attention to the structure of the subject into OPERA 26, 29, 31 Notes by ROBERT CRAFT, a 32-year-old, New York born musician tion. The ear’s logic must be satisfied first. Both halves of the first move- 5, 4, and 3-note units with but one strong accent and that precisely on In the three great choral pantheons Webern’s quest for euphony has who lives part of the year in Hollywood where he conducts the Monday ments of Opera 21 and 22 are repeated and in no music composed since the middle note (the 10th, with 9 before and 9 after, counting the notes been attained: in Das Augenlicht where space and silence are inter- Evening Concerts, and part in Europe where in six tours he has con- the classic masters has the perfect necessity of the repeat been so as though they formed a row). Given the consistently asymmetrical sected by a canon begun by softly trilling timpani and mandoline, and in ducted. concerts in most of the musical capitals. Other recordings by wonderfully calculated. From the Symphony one sees the repeat of the relay of the sound, the possibilities of the idea are mathematically terri- the cantatas Opera 29 and 31 where Webern gives his love of nature Robert Craft are of music by Gesualdo, J. S. Bach, Schénberg, and exposition section of the Trio’s second movement as of astounding sig- fying. As Webern realized it, however, it is easily followed. For those expression in his most luxuriant sound. The tragic réle is the chorus’. Stravinsky.

12 13 Phe banding indications apply to entire opus numbers. There are no bands separating III movements or numbers within a given work. An Bachesranft Beside the stream ANTON OPUS 1 Side 1, Band1 die einzigen Friihen the earliest to bloom Complete Works (1908) die Hasel bliihen. are the hazels. PASSACAGLIA FOR ORCHESTRA Ein Vogel pfeift A bird whistles 3 Flutes, 3 Oboes, 3 Clarinets, 3 Bassoons, in kiihler Au. in the cool meadow. 4 Horns, 3 Trumpets, 3 Trombones, Tuba, Ein Leuchten streift A glow touches, PERFORMERS (solo and chamber works only) : Timpani, Percussion, Harp, Strings erwadrmt uns sanft warms us, softly, und zuckt und bleicht.— trembles and fades. VOCAL: Soprano—Grace-Lynne Martin, Marni Nixon OPUS 2 Band 2 Das Feld ist brach, The field is fallow, Alto—Grace-Lynne Martin (1908) der Baum noch grau... the tree still grey... Tenor—Richard Robinson ENTFLIEHT AUF LEICHTEN KAEHNEN Blumen streut vielleicht der Lenz uns nach. perhaps Spring will shower us with blossoms. Bass—Charles Scharbach (Stefan George) for Mixed Chorus a cappella STRINGS: Violin—Ward Fenley, Ralph Schaeffer, 1V Robert Sushel, Dorothy Wade Im Morgentaun In morning dew Entflieht auf leichten Kahnen Take flight in light barks Viola—Cecil Figelski, Milton Thomas trittst du hervor you came with me berauschten Sonnenwelten from tipsy, sunny worlds, ’Cello—Hmmet Sargeant den Kirschenflor to see the cherry tree dass immer mildre Trinen that ever milder tears Bass—Magdalena Rivera mit mir zu schaun, in bud, euch eure Flucht entgelten. reward you for your flight. Guitar—Jack Marshall Duft einzuziehn to drink the scent Seht diesen Taumel blonder Watch without ecstasy Mandolin—Maz Gralnick des Rasenbeetes. of grass. lichtblauer Traumgewalten how the intoxication of blond Harp—Dorothy Remsen, Barbara Shik Fern fliegt der Staub... Dust swirls afar... und trunkner Wonnen sonder light-blue dream powers Durch die Natur Nature not yet Verziickung sich entfalten. and drunken passions unfolds KEYBOARD: Celesta—Leonard Stein noch nichts gediehn has brought forth Dass nicht der siisse Schauer so that the sweet trembling Harmonium—Wesley Kuhnle von Frucht und Laub— leaf or fruit— in neues Leid euch hiille— will not envélop you with new sorrow— Piano—Leonard Stein Rings Bliite nur... Only blossoms abound... Es sei die stille Trauer Let silent sadness Von Siiden weht es. And the southwind blows. die diesen Friihling fiille. fill this Spring. WOODWINDS: Piccolo and Flute—Arthur Gleghorn Oboe—Arnold Koblentz, Gordon Pope Clarinet—Mitchell Lurie, Hugo Raimondi Kahl reckt der Baum The bare tree strains E-flat Clarinet—Hugo Raimondi OPUS 3 Band 3 im Winterdunst its freezing life Bass Clarinet—W illiam Ulyate (1909) sein frierend Leben. in winter’s mist. Tenor Saxophone—William Ulyate FIVE SONGS Lass deinen Traum Let your dream arise (from “Der siebente Ring” by Stefan George) auf stiller Reise in calm uplifting BRASS: Horn—James Decker for Soprano and Piano vor ihm sich heben! at sight of it. Trumpet—Morris Boltuch, Lester Remsen Er dehnt die Arme— It stretches forth its arms— Trombone—Lloyd Ulyate Marni Nixon and Leonard Stein Bedenk ihn oft mit dieser Gunst, Think often of it with this grace, dass er im Harme That in pain, PERCUSSION: Ann Dragonette dass er im Hise that in ice noch Frihling hofft! it still hopes for Spring. Dies ist ein Lied fiir dich allein: This is a song for you alone: All of the performers listed above, as well as additional von kindischem Wahnen, of childish longing, instrumentalists and choral singers, were selected from von frommen Tranen... of pious tears... Hollywood film studios. Special credits are due Mr. Sol Durch Morgengarten klingt es Through morning gardens it sings, Babitz and Mr. Ingolf Dahl for performances of mandolin and ein leicht-beschwingtes. lightly wingéd. OPUS 4 Band 4 celesta parts, respectively, in two orchestral works, Nur dir allein (1909) Opera 26 and 29. This song is meant mocht es ein Lied das riihre sein. to move but you alone. FIVE SONGS (Stefan George) MUSICAL DIRECTION: ROBERT CRAFT II for Soprano and Piano

Marni Nixon and Leonard Stein Im Windesweben In the wind’s murmur war meine Frage my quest I nur Tréumerei. was a mere dream. Eingang Entrance Nur Lacheln war A smile was all Welt der Gestalten World of beings, was du gegeben. that you had given. lang Lebewohl!... long fare thee well! Aus nasser Nacht Out of the wet night Oeffne dich Wald Open up, forest ein Glanz entfacht— a radiance sparked— voll schlohweisser Stimme! of pale-white trunks. Nun drangt der Mai, Now May lends urge, Oben im Blau nur Only high in the blue nun muss ich gar now I must live all day tragen die Kamme do the treetops bear um dein Aug’ und Haar in longing Laubwerk und Friichte: foliage and fruit: alle Tage in Sehnen leben. for your eyes and hair. gold Karneol. gold carnelian.

14 15 Side 1, Band 4 cont. IV Mitten beginnt In the middle, beim marmornen Male near the marble monument, langsame Quelle the slow spring So ich traurig bin When I am sad, blumige Spiele, begins its flowery play, weiss ich nur ein Ding: I have but one thought: rinnt aus der Wélbung flows from the hollow, ich denke mich bei dir I think myself with you sachte als fiele softly, as if und singe dir ein Lied. and sing you a song. Korn um Korn grain after grain Fast vernehm ich dann Then I seem to hear auf silberne Schale. were falling into a silver bowl. deiner Stimme Klang, the sound of your voice; Schauernde Kiihle Shivering coolness ferne singt sie nach far away it echoes schliesst einen Ring, closes a ring; und minder wird mein Gram. and my sorrows diminish. Dammer der Friihe dawn of the morning wolkt in den Kronen, clouds the treetops; ahnendes Schweigen expectant silence Vv bannt die hier wohnen... transfixes those who dwell here... Traumfittich rausche! Dream-wing, whirr! Thr tratet zu dem Herde You stepped toward the hearth Traumharfe kling! Dream-harp, resound! wo alle Glut verstarb, where the glow had died. Licht war nur an der Erde The light on the ground II vom Monde leichenfarb. came only from the death-pale moon. Thr tauchtet in die Aschen You dipped into the ashes Noch zwingt mich Treue iiber dir zu wachen die bleichen Finger ein your pale fingers, und deines Duldens Schénheit dass ich weile, mit Suchen Tasten Haschen— _ searching, touching, grasping— mein heilig Streben ist mich traurig machen wird es noch einmal Schein! Once more it comes aglow! damit ich wahrer deine Trauer teile. Seht was mit Trostgeberde Look what the moon imparts Nie wird ein warmer Anruf mich empfangen, der Mond euch rat: with consoling gesture: bis in die spiten Stunden unsres Bundes tretet weg vom Herde, step back from the hearth muss ich erkennen mit ergebnem Bangen es ist worden spit. It has grown late. das herbe Schicksal winterlichen Fundes.

Faithfulness still compels me to watch over you, and the beauty of your suffering, to remain. My sacred striving is to sadden myself so that I may more truly share your grief. OPUS 5 Side 2, Band 1 (1909) Never will a warm voice greet me; until the late hours of our togetherness FIVE MOVEMENTS FOR STRING QUARTET I must recognize with devoted anxiety Violin I: Dorothy Wade the bitter fate of wintry discovery. Violin Il: Ward Fenley Viola: Milton Thomas Til Cello: Hmmet Sargeant

Ja Heil und Dank dir die den Segen brachte! Du schlafertest das immer laute Pochen mit der Erwartung deiner—Teure—sachte OPUS 6 Band 2 in diesen glanzerfiillten Sterbewochen. (1909) Du kamest und wir halten uns umschlungen, ich werde sanfte Worte fiir dich lernen SIX PIECES FOR LARGE ORCHESTRA (Revised Version, August-September 1928) und ganz als glichest du der Einen Fernen 2 Flutes, 2 Oboes, 3 Clarinets, 2 Bassoons (Contra Bassoon), 4 Horns, dich loben auf den Sonnenwanderungen. 4 Trumpets, 4 Trombones, Tuba, Timpani, Percussion, Harp, Celesta, Strings Yes, hail and thanks to you who brought this blessing! You gently calmed the constant, loud heartbeat with that anticipation of you—dear one— during these radiance-filled weeks of dying. OPUS 7 Band 3 You came and we are holding each other in embrace; (1910) I will learn soft words for you FOUR PIECES FOR VIOLIN AND PIANO and I will praise you on sunlit wanderings as if you were like the One who’s distant. Ralph Schaeffer and Leonard Stein

16 OPUS 8 Side 2, Band 4 OPUS 11 Band 3 Ill II (1910) (1914) Schien mir’s, als ich sah die Sonne Die Einsame TWO SONGS THREE SMALL PIECES FOR ’CELLO AND PIANO It Seemed to Me as I Saw the Sun Lonely Girl (Rainer Maria Rilke) Emmet Sargeant and Leonard Stein (August Strindberg ) for Medium Voice and Instrumental Ensemble (from the “Chinese Flute’ by Hans Bethge) Grace-Lynne Martin Piccolo, Clarinet, Bass Clarinet, Horn, Trumpet, Trombone, Schien mir’s, als ich sah die Sonne, It seemed to me as I saw the sun and a Celesta, Glockenspiel, Harp, Violin, Viola, ’Cello, Bass OPUS 12 Band 4 dass ich schaute den Verborgnen; Clarinet and Bass Clarinet: William Ulyate; Horn; James Decker; that I glimpsed the hidden one; (1915-17) jeder Mensch geniesst die Werke, every man enjoys his doings, Trumpet: Morris Boltuch; Celesta: Leonard Stein; Harp: Barbara Shik; selig der das Gute tibet. blessed is he who practices the good. An dunkelblauem Himmel steht der Mond. Violin: Ralph Schaeffer; Viola: Cecil Figelski; ’Cello: Emmet Sargeant FOUR SONGS Fiir die Zornestat, die du veriibtest, For the angered deed which you committed Ich habe meine Lampe ausgeléscht,— for Soprano and Piano ’ biisse nicht mit Bosheit; schwer von Gedanken ist mein einsam Herz. I Marni Nixon and Leonard Stein do not repent with malice; tréste den, den du betriibtest, with goodness console the one you saddened Ich weine, weine; meine armen Tranen Du, der ichs nicht sage, You, whom I do not tell giitig, und es wird dir frommen. and it will do you good. rinnen so heiss und bitter von den Wangen, ~~ dass ich bei Nacht that I lie awake weeping I Der nur fiirchtet, der sich hat vergangen: Only he who has sinned fears; weil du so fern bist meiner grossen Sehnsucht, weinend liege, at night, weil du es nie begreifen wirst, wie weh mir ist, Der Tag ist vergangen gut ist schuldlos leben. it is good to live without guilt. deren Wesen mich miide macht whose manner makes me sleepy, wenn ich nicht bei dir bin. The Day Has Gone wie eine Wiege. like a cradle; In dark blue fields of heaven walks the moon. (Folk Song) IV Du, die mir nicht sagt, you, who does not mention A lamp stands by my side: I put it out. wenn sie wacht meinetwillen: when she is awake because of me. Gleich und Gleich Heavy and pensive is my lonely heart. Der Tag ist vergangen, The day has gone, wie, wenn wir diese Pracht How if we were to endure The Perfect Match I weep, weep; my poor tears are running, die Nacht ist schon hier, the night is already here, ohne zu stillen this glory (Johann Wolfgang von Goethe) running all down my cheek so warm and bitter, gute Nacht, o Maria, goodnight, O Maria, in uns ertriigen? without remaining silent? because you’re so far from my great longing, bleib ewig bei mir. stay always with me. Sieh dir die Liebenden an, Behold the lovers: Ein Blumengloéckchen vom Boden hervor A flowerbell blossomed early because you'll never understand how great my pain Der Tag ist vergangen, The day has gone, wenn erst das Bekennen begann, once they have begun to confess, war friih gesprosset in lieblichem Flor; from the ground in lovely bloom; when I’m not with you. wie bald sie liigen. how untruthful they become. die Nacht kommt herzu, the night is approaching. da kam ein Bienchen und naschte fein: there came a little bee and sucked: gib auch den Verstorbnen Give eternal rest Die miissen wohl beide fiir einander sein. They must have been made for each other. Ill die ewige Ruh. also to the departed. In der Fremde II OPUS 13 Band 5 In a Strange Land Du machst mich allein. You alone create me. (1914-18) (from the “Chinese Flute” by Hans Bethge) Dich einzig kann ich vertauschen. You alone I can interchange. Hine Weile bist du’s; For a while it is you; II FOUR SONGS Piccolo, Clarinet, Bass Clarinet, Trumpet, Celesta, Harp, Violin, Viola, ’Cello dann wieder ist es das Rauschen, then again it is the rustle, for Soprano and Instruments Die geheimnisvolle Flite In fremdem Lande lag ich. Weissen Glanz oder es ist ein Duft or it is a fragrance Grace-Lynne Martin ohne Rest. disappearing. The Mysterious Flute malte der Mond vor meine Lagerstitte. and Ach, in den Armen hab ich sie alle verloren, Ah, in my arms I have lost them all; (Li-Tai-Po) Ich hob das Haupt,—ich meinte erst, es sei Piccolo and Flute: Arthur Gleghorn; Clarinet; Hugo Raimondi; (from the “Chinese Flute” by Hans Bethge) der Reif der Friihe, was ich schimmern sah, du nur, du wirst immer wiedergeboren: you only, you are always born again: Bass Clarinet: William Ulyate; Horn: James Decker; dann aber fiihlte ich: der Mond, der Mond, weil ich niemals dich anhielt, because I never held you, Trumpet: Morris Boltuch; Trombone: Lloyd Ulyate; Celesta: Leonard Stein; und neigte das Gesicht zur Erde hin, halt ich dich fest. I hold you fast. An einem Abend, Glockenspiel: Ann Dragonette; Harp: Barbara Shik; Violin: Ralph Schaeffer; und meine Heimat winkte mir von fern. da die Blumen dufteten Viola: Cecil Figelski; ’Cello: Emmet Sargeant; Bass: Magdalena Rivera und alle Blatter an den Baumen, In a strange land I was sleeping. Shimm’ ring light OPUS 9 Side 3, Band 1 trug der Wind mir das Lied einer entfernten Fléte zu. spread by the moon around my couch and pillow. Da schnitt ich einen Weidenzweig vom Strauche, cs (1913) Wiese im Park I raised my head, and thought at first it was und mein Lied flog, Antwort gebend, the edge of morning that was shining so; SIX BAGATELLES FOR STRING QUARTET Lawn in the Park durch die bliihende Nacht. but suddenly I felt the moon, the moon, Violin I: Dorothy Wade Seit jenem Abend héren, (Karl Kraus) | Flute, Clarinet, Bass Clarinet, Horn, Trumpet, Trombone, and dropped my head upon my pillow then, Violin II: Robert Sushel wenn die Erde schlaft, Celesta, Glockenspiel, Harp, Violin, Viola, ’Cello, Bass until I saw my country far away. Viola: Cecil Figelski die Vogel ein Gesprach in ihrer Sprache. ’Cello: Emmet Sargeant Wie wird mir zeitlos. Riickwarts hingebannt All time has vanished. With a backward view, IV OPUS 10 Band 2 weil” ich und stehe fest im Wiesenplan, pausing, I stand with green on ev’ry side Ein Winterabend (1913) Upon an evening, wie iin dem griinen Spiegel hier der Schwan. and see the mirror’d swans that calmly glide. A Winter Evening when the scent of flowers Und dieses war mein Land. This was my country too. 14 FIVE PIECES FOR ORCHESTRA (Georg Trakl) }% and trees pervaded the air, Die wielen Glockenblumen! Horch und schau! O what a host of bluebells! Look and hear! (Solo Ensemble) Clarinet, Bass Clarinet, Trumpet, Trombone, And see how long and still a butterfly the wind brought me the song of a distant flute. Wie lange steht er schon auf diesem Stein, Celesta, Harp, Violin, Viola, ’Cello, Bass Flute and Piccolo: Arthur Gleghorn; Oboe: Arnold Koblentz; I cut a twig from the willow tree der Admiral. Es muss ein Sonntag sein sits on this stone. Now surely Sunday’s nigh, E-flat Clarinet: Hugo Raimondi; Clarinet and Bass Clarinet: William Ulyate; and my song, giving answer, und

21 20 OPUS 16 Side 4, Band 2 OPUS 17 Band 3 OPUS 18 Band 4 OPUS 19 Band 5 (1924) (1924) (1925) (1926) FIVE CANONS ON LATIN TEXTS THREE TRADITIONAL RHYMES THREE SONGS TWO SONGS for Soprano, Clarinet, and Bass Clarinet for Soprano, Clarinet, Bass Clarinet, and Violin (Viola) for Soprano, E-flat Clarinet, and Guitar (from “Chinesisch-Deutsche Jahres- und Tageszeiten” Grace-Lynne Martin Grace-Lynne Martin Grace-Lynne Martin by Johann Wolfgang von Goethe) and and and for Mixed Chorus (Vocal Quartet) and Instrumental Ensemble Clarinet: Mitchell Lurie; Bass Clarinet: William Ulyate Clarinet: Mitchell Lurie E-flat Clarinet: Hugo Raimondi; Guitar: Jack Marshall Voices—Soprano; Marni Nixon; Alto: Grace-Lynne Martin; Bass Clarinet: William Ulyate Tenor: Richard Robinson; Bass: Charles Scharbach I Violin: Ralph Schaeffer I Instruments—Clarinet: Hugo Raimondi; Bass Clarinet: William Ulyate; Viola: Cecil Figelski Christus factus est pro nobis obediens usque ad mortem, Schatzerl klein Celesta: Leonard Stein; Guitar: Jack Marshall; Violin: Ralph Schaeffer mortem autem crucis. I Sweetheart, Dear Propter quod et Deus exaltavit illum: I et dedit illi nomen, Armer Siinder, du, Wretched sinner, you, Schatzerl klein, Sweetheart, dear, quod est super omne nomen. die Erde ist dein Schuh; the earth it is your shoe. musst nit traurig sein, mustn’t be sad, Weiss wie Lilien, reine Kerzen, White, like lilies, pure candles, Mark und Blut, Bone and fat, eh’ das Jahr vergeht, ere the year is gone Sternen gleich, bescheidner Beugung, star-like, with modest mien, Christ for us became obedient unto death, der Himmel ist dein Hut. the sky it is your hat. bist du mein. you’ll be mine. leuchtet aus dem Mittelherzen shines from the core of the heart even the death of the cross. Fleisch und Bein Leg and arm, Eh’ das Jahr vergeht, Ere the year is gone rot gesdumt die Glut der Neigung. red-hemmed the glow of affection. Wherefore God also hath highly exalted Him sollen von dir gesegnet sein, may they be bless’d and kept from harm. griint das Rosmarin, the rosemary will be green; So frithzeitige Narzissen Thus the early narcissus and given Him a name bliihen reihenweis im Garten. blooms in rows in the garden. du heilige Dreifaltigkeit We pray you, Holy Trinity, sagt der Pfarrer laut: the priest will say: which is above every other name. von nun an bis in Ewigkeit! from now on in all eternity. Nehmts euch hin. Take each other. Mégen wohl die guten wissen, Let’s hope the dear ones know wen sie so spaliert erwarten. for whom they stand so expectantly at attention. Griint der Rosmarin, When the rosemary’s green, II griint der Myrtenstrauss the myrtle will be green, II (from “The Youth’s Magic Horn’’) und der Nagerlstock and the wanderer’s cane II bliiht im Haus. will blossom at home. Liebste Jungfrau, wir sind dein, Dearest Virgin, we pray thee Dormi Jesu, mater ridet, Sleep, my Jesus; mother smiles when zeig’ dich, Mutter stets zu sein, like a mother may you be. Ziehn die Schafe von der Wiese, When the sheep have left the meadow II quae tam duleem somnum videt, She can see you sweetly sleeping. schreib’ uns alle deinem Herzen Keep us ever in thy heart liegt sie da, ein reines Griin; it lies there a pure green; dormi Jesu blandule. Sleep, my Jesus, tenderly. unausléschlich ein. and in thy memory. Erlosung aber bald zum Paradiese but soon it will bloom Si non dormis, mater plorat, wird sie bunt gebliihmt erbliihn. into a colorfully flowered paradise. When you don’t sleep, mother weeps and Gross ist unsrer Feinde Zahl Great the number of our foe Redemption Hoffnung breitet leichte Schleier Hope spreads light veils inter fila cantans orat: Plucks the strings and sings a prayer hier in diesem Tradnental; in this vale of tears below. (from ‘The Youth’s Magic Horn’’) blande veni somnule. Calling tender sleep to you. rette, Mutter, deine Kinder Save them, mother, all thy children nebelhaft vor unsern Blick: mist-like before our glance: vor dem Siindenfall. from their sins and woe. Wunscherfiillung, Sonnenfeier, wish-fulfillment, sun-feast, III MARIA: MARY: Wolkenteilung bring’ uns Gliick! parting clouds may bring us luck! Mein Kind, sieh an die Briiste mein, My child, look upon my breasts; kein Siinder lass verloren sein. Crux fidelis, inter omnes Faithful cross above all others, let no sinful soul be lost. Ill CHRISTUS: CHRIST: arbor una nobilis: one and only noble tree, OPUS 20 Band 6 Mutter, sieh an die Wunden, nulla silva talem profert, none in foliage, none in blossom, Mother, look upon my wounds (1927) Heiland, unsre Missetaten die ich fiir dein Siind trag alle Stunden. which bear at all times for your sins. fronde, flore, germine. none in fruit thy peer may be. haben dich verkauft, verraten, Vater, lass dir die Wunden mein Father, accept my wounds STRING TRIO Dulce lignum, dulces clavos, Sweetest wood and sweetest iron, dich gegeisselt, dich gekrént, ein Opfer fiir die Siinde sein. as a sacrifice for iniquity. Violin: Dorothy Wade; Viola: Cecil Figelski; ’Cello: Emmet Sargeant dulce pondus sustinet. sweetest weight is hung on thee. an dem Kreuze dich verhéhnt. VATER: FATHER: I. Sehr langsam (Very slow) Lass dein Leiden und Beschwerden, Sohn, lieber Sohn mein, Son, dear son of mine, II. Sehr getragen und ausdrucksvoll (Very sustained and expressive ) Jesus, uns zu Nutzen werden, IV alles was du begehrst, das soll sein. all you desire shall come to pass. lass durch deine Todespein, Herr, uns nicht verloren sein! OPUS 21 Side 5, Band 1 Asperges me, Domine, Thou shalt sprinkle me, O Lord, (1928) hyssopo, et mundabor: with hyssop, and I shall become clean; HI SYMPHONY lavabis me, Thou shalt wash me, Saviour, with our sins we’ve paid thee, Ave, Regina Clarinet, Bass Clarinet, 2 Horns, Harp, First and Second Violins, Violas, ’Cellos et super nivem dealbabor. and I shall be made whiter than snow. shamefully we’ve sold, betrayed thee, Miserere mei, Deus, Have mercy on me, O Lord, whipped with scourges, crowned with thorn, I. Ruhig schreitend (Moving quietly) Ave, Regina coelorum, Ave, Mistress of heaven, secundum magnam in Thy great crucified thee ’midst our scorn. II. Variations Ave, Domina Angelorum: Ave, Queen of angels, misericordiam tuam. loving-kindness. Through thy torment, hell defying, Salve radix, salve porta, Hail Fountainhead, hail Source Jesus, help us in our dying, OPUS 22 Band 2 ex qua mundo lux est orta: from which all light has come. through the suff’ring of thy death, (1930) Gaude, Virgo gloriosa, Rejoice, glorious Virgin, Vv Lord, give us eternal breath. super omnes speciosa! most beautiful of all! QUARTET Crucem tuam adoramus, Domine: We worship Thy cross, O Lord; Vale, o valde decora, Farewell, o most virtuous one, Clarinet: Mitchell Lurie et sanctam resurrectionem we praise Thy holy resurrection et pro nobis Christum exora. intercede for us with Christ on high. Tenor Saxophone: William Ulyate tuam laudamus, et glorificamus: and glorify it: Violin: Ralph Schaeffer ecce enim propter lignum for behold, by virtue of the tree, Piano: Leonard Stein venit gaudium in universo mundo. joy has come to the whole world. I. Sehr massig (Very moderate) II. Sehr schwungvoll (Hxzuberant)

22, 23 OPUS 23 Side 5, Band 3 Il OPUS 25 Band 2 OPUS 26 Band 3 (1934) (1935) (1935) THREE SONGS Herr Jesus mein, THREE SONGS DAS AUGENLICHT (from “Viae inviae’” by Hildegard Jone) Du trittst mit jedem Morgen ins Haus, (Hildegard Jone) (Hildegard Jone) for Soprano and Piano in dem die Herzen schlagen, for Soprano and Piano for Mixed Chorus and Orchestra und legst auf jedes Leid Marni Nixon and Leonard Stein die Gnadenhand. Marni Nixon and Leonard Stein _Flute, Oboe, Clarinet, Alto Saxophone, Horn, Trumpet, Trombone, Timpani, Xylophone, Glockenspiel, Cymbal, Mandolin, I Der Friihling saget mir mit allen Vogeln, wieviel’s zum Freuen gibt. Celesta, Harp, 8 Violins, 4 Violas, 4 ’Cellos Das dunkle Herz, The dark heart Es ist so vieles, es ist alles da, das in sich lauscht, which hearkens to itself, nur keine Wande zwischen uns und Gott. Wie bin ich froh! Durch unsre offnen Augen Through our open eyes erschaut den Friihling perceives spring Er riihrt uns an mit jedem Wind und Zweige noch einmal wird mir alles griin fliesst das Licht ins Herz light streams into the heart, nicht nur am Hauch und Duft, not only by the breeze and scent und neigt sich sanft und leuchtet so! und strémt als Freude sanft then tenderly streams back from them der durch das Leuchten bliiht; which blossom through its glow; noch mit den Wiesenblumen noch tiberbliihn die Blumen mir die Welt! zuriick aus ihnen. as joy. , es fiihlt ihn it feels spring um unsern Schritt— noch einmal bin ich ganz ins Werden hingestellt Im Liebesblick quillt mehr herauf In love’s glance more light issues forth * andem dunklen Wurzelreich, in the dark realm of roots, das zwingt uns in die Knie. und bin auf Erden. als je herabgedrungen. than ever entered. das an die Toten riihrt: which reaches to the dead. Und morgen, Atmende, ist wieder Sonne. Was ist geschehen, What has occurred Was wird, That which grows Und, ewig Schlafende, What great delight! wenn das Auge strahlt? that makes the eyes so radiant? legt sich mit zarten Wurzeln lays its tender roots auch euch erwartet Tag. Once more now all the green’s unfurled Sehr Wunderbares It must be something very wonderful an das Wartende im Dunkel, against that which waits in the dark; and shines so bright! muss es uns verraten: that they betray to us: trinkt Kraft und Stille it drinks strength and repose Lord Jesus, mine, And still the world is overgrown with flow’rs! Dass eines Menschen Innerstes that a human creature’s inmost self aus der Nacht, from the night every morning you enter the house Once more I in creation’s portal live my hours, zum Himmel ward eh’ sich’s dem Tage schenkt, before it gives itself to the day, has become like heaven where hearts are beating, and yet am mortal. mit soviel Sternen eh’ es als Liebeskelch before as a chalice of love with as many stars and lay on each sorrow als die Nacht erhellen, as brighten the night, zum Himmel duftet it sends its fragrance to heaven, your hand of mercy. mit einer Sonne, und eh’ aus ihm zu ihm and before from heaven Il withasun Spring with all its birds tells me die den Tag erweckt. ein goldnes Flattern Leben tragt: a golden flutter bears it life. which awakens the day. how much cause for joy there is: O Meer des Blickes Ich bin nicht mein. I do not belong to myself. Des Herzens Purpurvogel fliegt durch Nacht. O sea of glances there is so much, there is everything, ; Die Quellen meiner Seele, The springs of my soul, Der Augen Falter, die im Hellen gaukeln, mit der Tranenbrandung! with its surf of tears! and there are no walls between ourselves and God. Die Tropfen, welche sie verspriiht sie sprudeln in die Wiesen dessen, they flow into the meadows of him sind ihm voraus, wenn sie im Tage schaukeln. The droplets which it sprays He touches us with every breeze and twig auf Wimpernhalme, der micht liebt, who loves me, Und doch ist er’s, der sie ans Ziel gebracht. on the blades of your eyelashes and bends down gently und machen seine Blumen bliihen and makes his flowers blossom Sie ruhen oft, die bald sich neu erheben vom Herzen und der Sonne are shone upon with the meadow flowers werden sie beschienen. und sind sein. and are his. zu neuem Flug. Doch rastet endlich er by the heart and by the sun. around our feet— Wenn sich die Nacht der Lider Du bist nicht dein. You do not belong to yourself. am Ast des Todes, miid und fliigelschwer, When the night of your lids 3 and we are forced to kneel. Die Fliisse deiner Seele, The rivers of your soul, dann miissen sie zum letzten Blick verbeben. liber deine Tiefen quietly descends And tomorrow, you who breathe, will again be sunshine. still niedersenkt, du Mensch, von mir geliebt, thou man, loved by me, upon your depths, And you who sleep forever, dann spiilen deine Wasser sie strémen in das Meine, they flow into what is mine your waters lap you too will see the dawn. an die des Todes: dass es nicht verdorre. so that it will not wither. The heart’s purple eagle flies by night. against those of Death: deiner Tiefen Schiatze, Wir sind nicht unser, We do not belong to ourselves, The eyes, like daylight’s butterflies that hover, the treasures of your depths, die tagerworbnen ich und du und Alle. not I, not you, not anyone. flutter ahead and fly before it ever. gathered during the day, Yet it’s the bird that brought them to their goal. nimmt er sacht mit sich. he gently takes away with him. They often rest who soon must rise to heaven Jedoch aus seinen unergriindlich Yet, from his unfathomable, OPUS 24 Side 6, Band 1 dunklen Tiefen, dark depths, (19384) to fly again. Yet finally he rests Es sttirzt aus Héhen Frische, die uns leben macht: on death’s grey branches, tired with heavy wings: wenn mit den Lidern as with your rising lids das Herzblut ist die Feuchte uns geliehen, CONCERTO the butterflies then look their last and perish. sich der Tag erhebt, day dawns, die Trane ist die Kiihle uns gegeben: Flute: Arthur Gleghorn; Oboe: Gordon Pope; Clarinet: Hugo Raimondi; ist manches seiner Wunder some of his mystery sie fliesst zum Strom der Gnade wunderbar zuriick. Horn: James Decker; Trumpet: Lester Remsen; Trombone: Lloyd Ulyate; in den Blick, den neuen, has ascended into your glance, Ach, ich darf sein, wo auch die Sonne ist! Violin: Ralph Schaeffer; Viola: Cecil Figelski; Piano: Leonard Stein III heraufgeschwommen the new one, Sie liebt mich ohne Grund, und es macht ihn gut. and it makes it good. ich lieb’ sie ohne Ende. I. Etwas lebhaft (Somewhat lively) Sterne, Ihr silbernen Bienen Stars, Ye little bright bees Wenn wir einander Abend, Abschied scheinen, II. Sehr langsam (Very slow) der Nacht um die Blume der Liebe! of night round the flower of love! OPUS 27 Band 4 den Himmel und die Seele iibergliiht noch lange Glut. Wahrlich, der Honig aus ihr Truly the honey from it III. Sehr rasch (Very rapid) (1936) hangt schimmernd an Euch. hangs shimm’ring on you. Plunging from above is freshness, which causes us to live: Lasset ihn tropfen ins Herz, Let it then drop in the heart, VARIATIONS FOR PIANO the heart’s blood is the moistnegs lent to us, in die goldene Wabe, in the gold comb of honey, Leonard Stein fiillet sie an bis zum Rand. fill up the comb to the brim. the tear is the coolness given to us: I. Sehr massig (Very moderate) wondrously it flows back to the stream of grace. Ach, schon tropfet sie tiber, Oh, the heart runneth over, II. Sehr schnell (Very fast) Ah, Iam privileged to be where the sun also is! selig und bis ans Ende mit happy and full for ever, It loves me without reason; ewiger Siisse durchtrankt. full of the great sweetness of love. III. Ruhig fliessend (Flowing quietly) T love it endlessly. When in the evening we bid each other good-bye the sky and my soul remain aglow long after.

24. 25 OPUS 28 Side 7, Band1 I III (1938) III Bass Solo Three-Part Women’s Chorus and Soprano Solo STRING QUARTET Tonen die seligen Saiten Apolls, wer nennt sie Chariten ? Violin I: Dorothy Wade Schweigt auch die Welt, aus Farben ist sie immer, Schépfen aus Brunnen des Himmels Spielt er sein Lied durch den wachsenden Abend, Violin II: Robert Sushel so lang die Sonne scheint. nach Wassern des Worts ist das Lauten, wer denket Apollon? Viola: Cecil Figelski Die Nachtigall, wenn nachts kein Farbenschimmer wenn so die menschliche Hand Sind doch im Klange die friiheren Namen ’Cello: Emmet Sargeant mehr leuchtet, Freude weint. zieht an den Kriigen des Klangs. alle verklungen; Dann klingt es auf, wenn nichts das Aug mehr bindet, Alle Glocken, die Herzen, I. Massig (Moderate) sind doch im Worte die schwicheren Worte dann flutet Glanz ins Ohr. wollen wir liuten, o Menschen! lange gestorben; II. Gemachlich (Comfortably) Wenn das beweglich Farbige verschwindet, Nimmer durch Raéume der Zeit, und auch die blasseren Bilder III. Sehr fliessend (Flowing rapidly) tritt das Bewegende im Klang hervor. nimmer verstumme ihr Schlag! zum Siegel des Spektrums geschmolzen. Sturmlauten muss nun die Liebe! Charis, die Gabe des Hichsten: Sie komme nicht trage und mide: die Anmut der Gnade erglanzet! Though it is still, the world has all its colour nein, sie bewege die Luft, OPUS 29 Band 2 Schenkt sich im Dunkel dem werdenden Herzen when falls the sunlight’s kiss. riihre an innersten Schlaf. (1939) als Tau der Vollendung. The nightingale at night when shades are duller Komme durch dichtestes Dunkel CANTATA NO. 1 and lightless, weeps for bliss. und lege die Toten zur Ruhe, (Hildegard Jone) Hearing the blessed strings of the Sun god, Then hear those notes when eyes flee from their prison, wacht, wo Leben noch glimmt, for Soprano Solo, Mixed Chorus, and Orchestra who senses the Graces? then brilliance fills the ear. dass sie es wecke zu sich. Flute, Oboe, Clarinet, Bass Clarinet, Horn, Trumpet, Trombone, Echoes his song in the darkening evening, But if it fades, the fleeting coloured vision, who thinks of Apollo? Timpani, Bass Drum, Cymbals, Triangle, Tamtam, Glockenspiel, Celesta, then movement comes in sound, in notes draws near. Have not the earlier names all been gathered, Drawing the Word’s most fresh water Mandolin, Harp, Violins, Violas, ’Cellos lost in that music? from Heaven’s deep wells is the ringing, Have not the weaker words long ago perished, when thus the hands of us men Soprano Solo: Marni Nixon slain by the word’s might? II pull at the pitchers of sound. Also the fainter image Let all bells then, the hearts of I is melted as seal of the spectrum. Bass Solo people, be ringing, O mankind! Charis, the gift of the highest: Never through aeons of time, Ziindender Lichtblitz des Lebens schlug Lightning, the kindler of Being, struck, the grace of her favour is sparkling! never let their sound be mute! ein aus der Wolke des Wortes. flashed from the word in the storm cloud. She comes in darkness, the ripening heart’s gift, Sehr tiefverhalten innerst Leben singt Love must now ring like a storm bell! Donner, der Herzschlag, folgt nach, Thunder, the heart beat, follows, as dew of perfection. im Bienenkorb in stiller Mitternacht, He must not come lazy and weary: bis er in Frieden verebbt. at last dissolving in peace. weil es aus ihm noch immer Kunde bringt, no, he must stir all the air, dass Fleiss aus bunter Vielheit Siisse macht. touching the innermost sleep. Der Bienenkorb das weisse Sternenzelt He shall arrive through great darkness, Il ist dicht durchtropft vom siissen Schépfungslicht. the sleep of the dead make peaceful, Es kreist darin ein jedes Bienlein Welt, waken, where life still glows, OPUS 30 Band 3 bevor der Schwarm in ewige Friihe bricht. Kleiner Fliigel, Ahornsamen, schwebst im Winde! and it shall waken in him. (1940) Das Herz, der kleinste Bienenkorb, umgibt Musst doch in der Erde Dunkel sinken. die andern alle. Seinen Honig klart Aber du wirst auferstehn dem Tage, VARIATIONS FOR ORCHESTRA Flute, Oboe, Clarinet, Bass Clarinet, Horn, Trumpet, Trombone, der eine Imker, der die Siisse liebt all den Diiften und der Friihlingszeit; IV wirst aus Wurzeln in das Helle steigen, Tuba, Timpani, Celesta, Harp, Strings der reinen Liebe, die er voll gew&hrt. bald im Himmel auch verwurzelt sein. Soprano Solo Wieder wirst aus dir du kleine Fliigel senden, die in sich schon tragen deine ganze Deep down the inner life is singing, sings Leichteste Biirden der Baume trag schweigend Leben sagende Gestalt. OPUS 31 Side 8, Band 1 in murm’ring hives at midnight’s quiet hour, ich durch die Raume: die Diifte. (1943) because from them a message it still brings, Bring dir der Linde Gestalt, CANTATA NO. 2 which work can make from colour, sweet and flow’r. fern her, aus leisestem Hauch. Little winged seed of maple, borne by breezes! The hives of bees like constellations are, (Hildegard Jone) ‘so full of drops of light creation brings. Thou must fall to earth and lie in darknegs. Bearing the trees’ lightest burden, I But then thou shalt rise again to daylight, for Soprano and Bass Soli, Mixed Chorus, and Orchestra In them each circling bee is like a star before the swarm collects in the final Spring. blow through the spaces their fragrance; to the fragrance and the air of Spring; Women’s Chorus, Mixed Chorus; Piccolo, Flute, Oboe, English Horn, bringing the lime tree to thee from from thy earth-roots shalt thou rise to brightness, The heart, which is the smallest hive, yet can Clarinet, Bass Clarinet, Alto Saxophone, Bassoon, Horn, Trumpet, Trombone, surround all others. And the bees’ one keeper far, on softest of breath. soon in heaven too shalt have thy roots. Tuba, Glockenspiel, Chimes, Celesta, Harp, Strings And again shalt put thy wings out, little maple, takes the honey, for he loveth, which already carry thy entire giveth love’s pure sweetness, which is full and deep. silent form, the bearer of new life. Soprano Solo: Marni Nixon Bass Solo: Charles Scharbach

27 26 Side 8, Band 1 cont. Vv VI Four-Part Mixed Chorus and Soprano Solo Four-Part Mixed Chorus Band 2 (1935) Freundselig ist das Wort, . Gelockert aus dem Schosse ORCHESTRATION OF J. S. BACH’S ‘RICERCAR’ das uns um unsre Liebe zu sich fragt, 1. It was a womb that bore Him in Gottes Frihlingsraum; in God’s eternity; (No. 2 in The Musical Offering) “fiirchte dich nicht, gekommen als das Blosse He came, none to adore Him, Flute, Oboe, English Horn, Clarinet, Bass Clarinet, Bassoon, zu Stern und Mensch und Baum Horn, Trumpet, Trombone, Timpani, Harp, Strings tréstet durch die Dunkelheit, to star and man and tree: aus Grésserem ins Grosse. was more than all before Him. das mitten unter uns ist, Band 3 wenn wir friedlich sind. . Ein Leben ist gegeben 2. A new life Heaven gave us, (1906) dem Licht von dieser Welt; Was kann denn andres mitten unter uns sein, the light of all this world. QUINTET FOR STRING QUARTET AND PIANO sie muss sich neu beleben, als das Wort? A new life must invade us in One Movement vor seinen Blick gestellt: Weil es am Kreuz verstummte before His eyes unfurled. der kann der Nacht entheben. (edited by Jacques Louis Monod) miissen wir ihm nach, He from the night can save us. in allen Ernst der Bitternis - Der kann den Himmel halten 8. Holds Heaven like a flower Violin I: Dorothy Wade und fiihrt zum gréssten Licht. ihm folget unser Hauch. and leads to greatest light, Violin Il: Ward Fenley Im Friedensschoss gestalten Doch wenn es wieder aufklingt in perfect peace moved our Viola: Milton Thomas uns, weil ein Kindlein spricht, in der Morgenfriihe, will, by a child’s sweet might, Cello: Emmet Sargeant der Liebe Urgewalten. dann wenden wir uns alle selig by holy love’s great power. Piano: Leonard Stein als Gerufne um. Freundselig ist das Wort. Und wenn du weisst, dass es um alles Deine weiss, A note on the performances: dann kennst dues: The recordings were made in Hollywood, California, between February 1954 and May dann tut’s dir weher als der Tod, 1956, the majority of them during 1954. The musicians involved in the project, and wenn eine Wolke myself especially, experienced in those two years a profound growth in sensitivity to Feindseligkeit: Webern’s language, and a corresponding growth in technique. Thus when we came to der Trinen Mutter Re Fe the Variations for Orchestra, one of the last pieces recorded, we were able to achieve sich zwischen dir und ihm erweitert ——— ods, FR — ene — what | think is our best performance in about one hour of rehearsal and one hour of und die Kalte schafft. SSS SS recording. Our discs are all recorded “performances”. The public does not realize to what extent hand Lanne - Minne - La - Len haben dager - Charity is the Word’s, | | | ) conventional records are pieced together from hundreds of scraps of tapes. There Y i \ that draws us to it asking for our love, KEL i rH Ki ll + a have been inserts in our performances, to be sure, but none at all, | think, in Opera “be not afraid, 14-19, the most difficult music in the whole album. They are true performances— it is I,” readings without breaks. Mistakes are inevitable in such a procedure (though | think al — SSS a ee te ee er eee SS Bre = —7 yy cy comes a voice consoling us, SS 2 6S Be a a ee Ge ee there are only three in this group: one wrong octave in the clarinet, the first note of fia = ead —— through ever present darkness, IL Opus 18, No. 2, the other a wrong octave in the guitar harmonic of Opus 18, No. 3, last when we’re peaceable. note of bar 4; the only other error of this sort in the whole album is in the viola part of What other power could there be among us, Robkl ee ee Opus 9, No. 5: two wrong notes in bars 6-7, an error which we recognized at the time but the Word? = — Te 7 = but for no known reason neglected to edit out). Nevertheless, performance gives a Because it died upon the cross, quality of excitement that compensates for much. we'll follow on; A great deal could be said of the problems of this project, of searches in Los Angeles in all the bitterness of tears second-hand piano shops for a proper harmonium, of devices added to a tenor saxo- our sighing follows it. phone to produce a non-existent low note, of hours and hours of rehearsal with singers Yet when it soundeth once more and players, of extracting parts from scores that had never before been performed, of in the morning hours, the final agony of time, when three works have to be recorded in three hours and you we all turn to it gladly, and we know must do a masterpiece such as the Concerto, Op. 24, in a few minutes and so play it that we’ve been called. straight through and produce your worst performance. Still, many of the performances Charity is the Word’s. may be a long time unbettered. And when you see that it knows ev’rything of you, | am responsible for conducting all of the music requiring conductor, that is, every then you know it: piece except the songs with piano, and the piano, violin, and ‘cello solo pieces. it pains you deeper far than death, ROBERT CRAFT when a dark cloud comes, bitter hatred, all weeping’s mother, thus shading you from it and making you as cold as death. BobKe

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